After turns by Burnt Friedman and Max Loderbauer, Marionette return attention to Benjamin Kilchhofer’s lilting drum patterns and bittersweet electronics on The Book Room, his broadest and most significant release to date. Followers of Burnt Friedman’s rhythmelodic arrangements, the ersatz ethno vibes of Don’t DJ or Shackleton’s hypnotic patterning will find lots to delve into here.
“Benjamin Kilchhofer is not new to the world of recorded music, yet he doesn’t seem to fit into a particular scene or group. As an outsider he is, however, fully immersed and melded into his own universe. He mentally escapes to a parallel world and weaves an alternate reality which would otherwise not exist in his daily life. Kilchhofer avoids the spotlight and therefore isn’t really visible in today’s culture of ever changing content and social media. This is where Marionette steps in to attempt to shed as much light as possible on this unique and incredibly talented artist.
The Book Room is Kilchhofer's musical diary, it's his library of emotions. It's a fairytale, an imaginary place shaped by exotic cultures, an escape from modern society, a collage of real and imagined experiences. You can hear influences abstracted from a wide number of musical approaches: the story-telling nature of folklore music, naive and conflicting rhythms of tribal drums, melodies and pads reminiscent of classical minimalism and microtonal experimental music, the freeform approach of early electronic music and krautrock, and buried deep within the tracks some hints of hedonistic dance and club music.”
D.K. does his debonaire, Far Eastern-oriented synth thing for Second Circle, leading on from his ambient split LP with Suzanne Kraft for their sister label, Music From Memory in 2017.
The Mystery Dub EP can be roundly summed up as disco music from the equator, as D.K. entwines percussion indigenous to South East Asia into patterns more reminiscent of African and South American Latin styles, using canopies of bird calls and humid synth atmospheres to bind those elements into their own sweet dancefloor ecologies.
After a searing run of releases and remixes, Ancient Methods makes the natural move to working with vocalists in The Asking Breath Comes To Each, teaming up with Tropic Of Cancer, Huren, Zanias, and Azar Swan for a distinctive new addition to AM’s carefully expanding catalogue.
The sole preserve of Michael Wollenhaupt for some years now, in the last few years Ancient Methods has carved towards working vocals to deadly effect on a number of remixes for everyone from The Soft Moon to Wolfsheim, beside his own edits as Room 506.
All this has clearly fed into the stonking original material found on The Asking Breath Comes To Each, which royally boots off with the harpy screech of Azar Swan over the scorched earth gallop of Swallow The Screw, before trimming back to the acidic darkroom canter of The Standards Will Come And Go feat. a possessed Dave Foster aka Huron - arguably summat of a wet dream for anyone who needs talc to help get their duds on.
Tropic Of cancer executes a perfect, pensive and floating counterpoint to the razor sharpened 16th note serrations of It Won’t Take Me on the B-side, and we’re feeling pangs of guilty glee towards the borderline cheesy/lush epicness of Zoe Zanias’ vocal on the restrained pulse of Andromeda.
This is killer - unremittingly bleak and tortuous noise from French unit Sister Iodine, plying a skull scraping fusion of harsh noise, black metal, and charred electronics ruptured by sparing percussion and pitch black ambient vortices, for Egypt’s Nashazphone. Some brilliant moments inside for followers of Nate Young, Prurient, Wold, Wolves In The Throne Room...
“French noise scene spearheads Sister Iodine return with their sixth album, Venom. Active since the '90s, Sister Iodine, which involve Erik Minkkinen, Lionel Fernandez, and Nicolas Mazet, has not lost one milligram of their radical and uncompromised approach in sound exploration and limits stretching. Following two studio albums on Parisian label Premier Sang, released in 2009 and 2013 respectively, it took almost five years to shape up Venom.
It is with the advent of the 21st century -- more than ever -- that the decisive path of Sister Iodine has taken a fascinating route. From their debut album, ADN 115 (1994), which was strongly influenced by the original New York no wave scene (Mars, DNA, Red Transistor) to their more recent works which are augmented by "newer poisons" such as black metal, or the most abrasive end of industrial music and power electronics, as well as experimental electronics -- Editions Mego has reissued an extended version of Premier Sang's Flame Desastre on CD -- (DEMEGO 009CD, 2009) -- the band has managed to survive through the years from the inhospitable French squats of the nineties to nowadays' established venues and proper tours.
Today, the band's music has changed recipients and has attracted younger generations with their organized radioactive chaos, never conceding anything from their initial intensity. Over the years, Sister Iodine will have also created their own idiosyncratic language, for which sound exploration matters and pure beauty seem to count as much as pure explosive ferocity, while intense violence and energy gets deployed in live shows. The last few years witnessed an increasing number of collaborations such as the recent sessions with Meyhna'ch (Mütiilation) or the ones with Masaya Nakahara (Violent Onsen Geisha, Hair Stylistics). Venom includes two tracks featuring the vocal contribution of Stephen Bessac, the deviant frontman of the cult French hardcore band Kickback. Sister Iodine produces a music that is actually unique and unheard anywhere else, one of eternal youth and audacity.”
Première release of a pivotal piece by important American composer, Julius Eastman.
After more than 40 years, Julius Eastman’s Femenine - a euphoric, colourful, and inventive work by the brilliant but criminally overlooked composer with the S.E.M. Ensemble - finally sees the light of day thanks to Finland’s Frozen Reeds, bringing to life a wondrous iteration of the highly fertile 1970s north american minimalist/modern classical nexus for a whole new generation of ears.
Notable not least as the only known recording of Femenine, recorded live in 1974 at Composers Forum in Albany, New York - which makes it only the 2nd CD with Eastman’s name at the top - this release also documents the composer on piano (whilst wearing a dress, as it goes) and features his unique innovation, a set of mechanised sleigh bells, rattling throughout the 72 minute performance, which, in a way, neatly characterises the artist’s wide-open, pioneering idiosyncrasies and dichotomies for anyone new to his work.
Un/fortunately, depending your perspective, far too many folk will be new to his work or even unaware of Eastman’s involvement in some true totems of the time; whether that’s as lead vocalist on Peter Maxwell Davies’ Eight Songs For A Mad King (1971), playing keys on Dinosaur L’s disco-not-disco classic 24→24 Music (1981), or conducting Arthur Russell’s Tower of Meaning (1983). And we say too many folk, because, all considered, until quite recently, Eastman has been long overdue the shine afforded to many of his peers and contemporaries.
As a Gay, Afro-American new music composer, pianist and vocalist in the ‘70s, Eastman’s work was innately politicised and exceptional by the nature of its provenance, not to mention the music itself, which pulled from his personal history as much as wider social movements to represent a uniquely fluid perspective on minimalist music’s rigid process and presentation right up to his untimely death, aged 50 in 1990.
With that in mind, Feminine stands at a crossroads between Eastman’s earlier chamber work Stay On It, and later pieces such as his iconic, majestic Evil Nigger and the ambiguous flux of emotions in Gay Guerilla; sounding quite unlike any of them thanks to its sense of communal joy (there were somewhere between 12 and 15 players) and the polymetric meter of his mechanised sleigh bells, coupled with a display of massed, pitching tonal colour that moves with the kind of deliquescent, flighty optimism that’s hard not to be wowed by.
Ultimately, it genuinely lives up to the mantle of “new music” and presents its ideas in a deeply refreshing, insistent, yet never-cloying manner.
A huge recommendation.
Christoph De Babalon lends his one-time broadcast for Cera Khin’s Noods radio show to the Berlin DJ’s Lazy Tapes label, split with Cera’s own killer selection of “obscure favourites”.
Leading on from Cera’s sleep aid tape with Ossia, this one plumbs a rather different area of the somnolent psyche with De Babalon’s hypnotic live arrangement of clammy drones, chain-rattling jungle breaks and macabre melodies reprising the ethereal vibe of his seminal album, If You;re Into It, I’m Out of it, as recently and necessarily reissued on his CFET label.
Think quick; this one’s here for a dark time, not a long time.
The Jealous Gods conscript Varg for their 17th number, harnessing his esteemed Scando techno energies in four hardcore, pounding missiles under the title of I’ll Hold You Till We Die.
A-side hurts the best with a pair of robust 140bpm bangers, getting into gear with the tense electro of For Milan/AMG and dispensing a proper bollocking with the stampeding groove of Skrrt (Music made To Listen To In A RS6).
Turn over and he drops the tempos slightly to go in with a class party piece in Donatella Forever and then the soaring hard techno élan of Last dance (I’ll Hold You Till We Die).
New from Forest Swords' Dense Truth label - the long awaited follow-up to that amazing Dialect album for 1080p which sparked a lot of curiosity on its release in 2015. From initial listens, this one's a more occluded, gauzier and visceral affair than its predecessor. It veers from tender synth tones to distressed strings via introspective flights of fancy prone to tilt into distended techno or, when the light changes, reveal moments of genuine, heart-rendingly cinematic beauty. If you're into 0PN, Maxwell Sterling, Ssaliva, Forest Swords - this one's for you...
“Loose Blooms is the 3rd full length album from Andrew PM Hunt under his Dialect moniker, and his most raw collection yet. Inspired by several field trips to the southern desert states of America as well a trip to remote parts of the Scottish Highlands, the album was constructed in an incredibly dense sonic environment whilst living above a nightclub in Liverpool.
Made from a collage of field recordings, fm synthesiser improvisations and semi generative software jams, Loose Blooms is a weathered fossil of sound. In its shredded landscape, you can just about make out arid canyons, moonlit wilderness and the hollow echo of empty 5am streets. Conceived of both as a document of speculative-folklore, and as an attempt to communicate with the land around us- the ever mutating sounds on this record point towards an inherent instability in not only the natural world but also our relationship with it.
Whereas Hunt's last album 'Gowanus Drifts' (2015, 1080p) dealt with encroaching development on urban spaces, Loose Blooms taps into a more universal anxiety around the future of the planet and the violence it both endures and inflicts. One day our phones will be rocks.”
Lone gets it right on these rugged but lush UK ravers, nailing a crafty blend of dembow knuck and early ‘ardcore bruk spiralling to a widescreen, flute-led new age peak in Temples, then swanging out with the infectious rub ’n tug of ruffcut Detroit house and fluoro nEuro trance lines on Hyper Seconds.
Force of energy Dale Cornish commits a particularly variegated blatz of songs as the 1st release on Vanity Productions, a new label related to The Tapeworm, who’ve previously issued Cornish material, as have Halcyon Veil, Entr’acte and Anòmia over the past 5 years and more.
This one sports Dale in fine voice alternating between a range of almost jazzy cabaret styles both in a cappella and joined to music, typically bucking any one framework to variously go over bursts of techno, cut-up radio samples, or acousmatic scrabble.
By any measure it’s the wildest and broadest snapshot of a genuinely singular artist, likely to reveal new aspects to those who thought they were quite familiar with his work, while also re/combining familiar elements in uncanny, refreshing ways recalling musics we love from The Caretaker to Ghédalia Tazartès and NYZ.
For a self confessed ‘journeyman’ musician who has spent most of his 50 year career on the road live Michael Chapman albums are curiously rare items and even more rare from his earlier years. This one, recorded by dutch “hippie” radio station ‘VPRO’ on 6th May 1971 is the earliest known live recording so far discovered of Michael Chapman after he started releasing records on the legendary UK based Harvest / EMI record label in 1969.
"This period is for Chapman fans the classic period, that more recently has drawn belated media coverage and recognition in response to the more recent kudos bestowed upon Michael from the likes of Thurston Moore, Kurt Vile, Jim O’rouke and the late, great, Jack Rose. A beautiful clear, warm and intimate recording of Chapman duetting with long time collaborator Rick Kemp on electric bass and which documents material from all three albums in a free flowing improv inflected style very much in favour at the time. it is with this free flowing vibe in mind that we include with both CD & vinyl editions the complete 90 minute concert via a download code card so listeners can experience the whole set.
Chapman sounds in a confident, gentle and relaxed mood. The Audience Is Initially Tentative, Possibly Unfamilar With chapman’s work but gradually warming to his complex dexterous ‘not folk’ playing. The recordings make for a fascinating snapshot of the time, with a loose and open approach that offers a rare chance for guitar buffs to evesdrop between songs on some those bespoke Chapman guitar tunings!. The set begins with another very rare Chapman item – a cover version - in this case of Tim Hardin’s 1965 “A Reason To Believe’. A song which had just reappeared that year as the A side of a Rod Stewart solo single (The B side being ‘Maggie May’!)."
Legendary hardcore label Praxis revive their 5th release, Bourbonese Qualk’s techno onslaught Autonomia, for a necessary reissue on the occasion of its 23rd birthday.
One of a handful of genuine post-punk/post-industrial survivors who’ve consistently held their underground mettle since the late ’70s, Simon Crabb’s Bourbonese Qualk are a vital example of the intersection between politics and music which generates the best records and raves in the UK.
Autonomia catches Crabb’s unit in 1993 going nuts for hardcore and acid techno, just like the rest of the country at that time. However, unlike a number other producers who has made the traversal from ‘80s punk and wave style to electronic dance music in the ‘90s, BQ also brought with them a scuzzy squat attitude ripe for hardcore techno warehouse raves.
That attitude comes out in no uncertain terms in the oblique, hard edged and psychedelic styles on Autonomia, which scales from full-on skull-bashing hardcore to more hypnotic styles reminscent of Psychick Warriors Of Gaia and even sounds like prototype tracky Jamal Moss gear in parts.
It’s pretty much worth it for the orange/black came jacket alone!
Brusque, Ballardian EBM techno and industrial clangers from Oliver Ho in his Broken English Club style.
The A-side’s Accidents & Romance clamps down with rottie-toothed 16th note synth snarls and back-breaking kicks whilst the owner chats like a man possessed, somewhere above the escalating madness.
B-side, Country Life bucks up some recoiling and lustrous EBM funk that burns on contact, backed with a descent into crushing industrial torpor with Private Death.
D. Avery calls in some smart remix back-up for his recent Slow Fade EP - one of his strongest solo releases
Surgeon turns Radius into a well balanced ambient techno roller, whereas Actress brings up the snaky acid of Slow Fade to a sort of haunted warehouse sound, and Inga Mauer hears Fever Dream as an echo of Baby Ford & Ifach Collective’s minimal techno lust.
Shark-eyed EBM from the Mannequin überlor,
Making his 1st mark on Jealous God with the scorching ballistics of Harvest on the A-side, and a pair of more furtive missiles on the trampling force of Prehistory, and muscle car chug of Death and Rebirth.
RVNG Intl parse Pauline Anna Strom’s incredible new age recordings on this collection of boundary-smudging synth journeys, containing material originally released between 1982 and 1988. They've spent almost a decade trying to bring this collection to life, kudos to them once again for compiling and conceiving it with so much care and attention to detail.
Drawn from seven obscure tape and vinyl releases made between 1982 and 1988, Trans-Millenia Music lives up to its mantle with a sense of ancient knowledge transposed into the contemporary future of the 1980s, realising a latent, transcendent sound that was perhaps just waiting for technology to catch up so it could speak freely.
Through the circuitry of pioneering synth tools, the blind composer and keyboardist from San Francisco feels out a spectrum of unfathomably celestial and synaesthetically-heightened sound colour along myriad, psychedelic vectors, haptically connecting diffuse spatial coordinates with a gossamer web of FX and morphing filter envelopes.
It’s music for oceanic introspection, beckoning listeners to fall deep inside themselves and diffract profound visions through their own lens, where you can interpret her descriptions of sonic flight in Crusing Altitude 36,000 Feet and In Flight Suspension, or decode the entheogenic synth voices of Mushroom Trip according to your own understanding of the cosmos and its play of energies, and draw your own meanings.
Gorgeous music, highly recommended if you're into Suzanne Ciani, Laurie Speigel or indeed Midori Takada.
Hyperdub reveal a spine tingling ambient episode in the Burial saga, finding the enigmatic protagonist pursuing the atmospheric themes of Nightmarket - the B-side to his previous 12” - into a liminal grey area of esoteric, sino-futurist techgnosis in Subtemple / Beachfires.
Implanted in the subterranean consciousness in the wake of Burial’s distinguished remix for Goldie’s Inner City Life, the reclusive artist’s latest episode frames some of the most enigmatic material in his era-defining catalogue, effectively removing the beats entirely and leaving us wandering acres of negative space lit up by cryptic sonic signposts and paranormal disturbances.
On both sides he uncannily echoes aspects of the Ghost In The Shell soundtrack as much as Nguyen Van Phong’s spectral Yin Yang gong loops and experimental funerary rites, as divined by the 3rd Ear/IREX project and archived on Reel Torque in 2016; dialling in encrypted patterns of crackle, cinematic dark ambient strokes and snatches of dialogue seemingly intercepted from the ether.
With Subtemple he appears like a safecracker or furtive agent tapping clandestine discussions from Shanghai; in headphones it feels like listening into important but impenetrable messages left by a time jumper in an evacuated mollusc. Beachfires follows with the equally illusive/elusive shimmer of wind chimes and fallen angel cries calcifying around the pineal gland, again with totally beguiling electro-acoustic depth of field and prompting all kinds of fevered speculation.
A pattern or narrative seems to be forming, or perhaps revealing itself in an inverted entropic schematic. Either way we’ve just got that Burial feeling again, and there’s scant few artists who can keep us rapt so consistently.
Glass offers the sublime results of a collaboration between Ryuichi Sakamoto and Carsten Nicolai (Alva Noto), as performed and recorded at Philip Johnson’s Glass House in Connecticut during the private opening to Yayoi Kusama’s installation marking the 110th anniversary of Johnson’s birth.
Making sterling use of the landmark architectural work’s pellucid dimensions, the pair fixed contact mics to its glass walls, which they effectively played as an “instrument”, rubbing it with rubber gong mallets to generate delicate tones which they combined with a sympathetic palette of singing glass bowls, crotales, keyboards and mixers.
The seamless performance of floating, weightless tones and exquisitely quivering timbres is without doubt one of their finest. For the duration we’re held static and spellbound by the pair’s interplay of microtonal shifts and plasmic chronics, keening the listener thru hazes of digital dust and vortices of angelic harmonics to locate, alchemise and resolve a rarified, deeply mysterious spirit before the piece closes.
As the follow-up to their OST for The Revenant  and the warbling keys of Summvs  before that, the achingly lush tension of Glass is perhaps the purest testament to the clarity of vision and endless minimalist mutability of this highly revered duo.
Zola Jesus, Naked, M. Lamar and Gazelle Twin leave their mark on Blanck Mass’ World Eater album tracks
Resulting highlights in Naked’s masochistic pulverisation of Rhesus Negative and the darkroom excesses and drama of Gazelle Twin’s The Rat revision.
Having recently contributed to Goner's "Yogascum" LP, reissued in late 2017, Mark Godwin now returns to the Swiss label together with his musical partner Gareth Ormerod as zK.
"Formed in 1999 as a live project, zK first released on the legendary Mancunian Skam label in 2003, toured throughout Europe and were invited by Autechre to play the All Tomorrow's Parties festival. In the following years, Godwin and Ormerod produced a slew of records that at once paid tribute to their roots in the emerging British rave scene while pushing the envelope of experimental electronica. Combining their interest for visual art and psychology with their spiritual connection to bands like Coil, some of whose records Godwin has worked on as a mastering engineer, zK have carved out a niche for themselves with a multi-disciplinary approach to music. "Last Night", their first proper studio album in five years, was recorded in Godwin's new home Bangkok.
Drawing heavily on musique concrète techniques, synthesizers, and sampling to create an immersive experience bordering on the synaesthetic, the six tracks capture the nervous energy of Thailand's capital after dark. Moving from the opener "Ouside Broadcast" with its collage-like juxtaposition of every-day sounds and squelching noise to the aptly titled "Cognitive Dissonance" and the aleatoric modular excursions of "Feral Confection" towards the more sombre, lysergic undertones of the B-side, ending in the both elegiac and haunting final track "Fleshpotting", Godwin and Ormerod explore the sharp contrasts which characterise the city. zK navigate through the weird, the eerie and sometimes even the grotesque and occult, they provide a thorough exploration of a metropolis marked by tradition and progress alike."
Natty jack attacks, wonky ghetto bass and mutant hi-tek jazz from Secret State on CPU.
Like music from some parallel, skewed 313 dimension, Zero Zero One locates a familiar yet subtly altered reflection of Detroit styles between the tweaky jacker CIA UFO Google Search, some percolated Jit business in De-Pattern and the spheric harmonics of The Sleep Room, both recalling an Urban Tribe from different mothers, while Weep For Joy leans on a sort of off-Red Planet vibe.
Firecracker’s elusive Gavin Sutherland (Fudge Fingas) relays a mystic house doozy with Pattern Transform under his Other Lands alias, as last heard on the Mac-Talla Nan Creag  compilation.
Framed as “occupying the space between alien-revisited exotica, classic jacking house workouts and a BoC 'Chromakey Dreamcoat' kinda vibe” by the Edinburgh label, its a trustworthily deep end trip finding its maker taking his beloved house music to new limits of the style.
A-side; he comes off like Carl Craig taking a trip around Orkney island stone circles with Julian Cope on Descent Into Nasqueron, which is worth it for the outta-nowhere drop alone, whilst Chapel Perilous Closed practically usurps Actress at his own game with a mid-fi swirl of synth-brass and strings in smoky electro-acoustic air driven by a well-cladded kick drum. B-side is just as strong, catching a breezier spring in his step with the gaelic plies and Detroit jazz pivots of Late Feeling Yourself, then giving it those come-tae-beed bucky eyes on A Paddle Around The World, which riffs in the same warm, alien waters as Sun-Ra, Jamal Moss, or Les Gracies.
Yo La Tengo return with their first proper full-length since 2013’s ‘Fade’.
"There’s a Riot Going On is an expression of freedom and sanity and emotional expansion, a declaration of common humanity as liberating as it is soft-spoken. While there’s a riot going on, Yo La Tengo will remind you what it’s like to dream. The sound burbles and washes and flows and billows. If records were dedicated to the cardinal elements, this one would be water. There are shimmery hazes, spectral rumbles, a flash of backward masking, ghostly flamingos calling “shoo-bop shoo-bop.” Even if your mind is not unclouded - shaken, misdirected, out of words and out of time - you can still float, ride the waves of an ocean deeper than your worries and above the sound.
For Yo La Tengo this is a slow-motion action painting and Georgia Hubley, Ira Kaplan and James McNew did it all themselves, in their rehearsal studio, with no outside engineer (John McEntire later did the mix). They did not rehearse or jam together beforehand; they turned on the recorder and let things coalesce. Songs came together over long stretches, sometimes as much as a year going by between parts. You’d never guess this, since the layers are finessed with such a liquid brush. You’d imagine most of the songs had sprung forth whole, since they will enter your head that way. Within two listens you will be powerless to resist the magnetic draw of ‘Shades of Blue’, will involuntarily hear ‘She May, She Might’ on your internal jukebox first thing in the morning and ‘Let’s Do It Wrong’ late at night. While there’s a riot going on you will feel capable of bobbing through like a cork.
In 1971, when the nation appeared to be on the brink of violently coming apart, Sly And The Family Stone released ‘There’s a Riot Goin’ On’, an album of dark, brooding energy. Now, under similar circumstances, Yo La Tengo have issued a record with the same name but with a different force, an album that proposes an alternative to anger and despair."
Carsten Nicolai concludes Alva Noto’s UNI-prefixed release cycle with UNIEQAV, the 3rd and most dancefloor-focussed instalment of the series. The follow-up to Unitxt  and Univrs  pairs pendulous minimal techno and electro rhythms with wide, sheer electronic drones in a way that strongly recalls recent Monolake output as well as Ilpo Väisänen in full swang. Comparisons aside, though, it’s unmistakably Alva Noto.
Pursuing the project’s roots in the dancefloor of Tokyo’s UNIT club to a satisfyingly logical endpoint, Nicolai rolls out 12 typically mercurial yet gripping sound designs defined by their fluid dynamics and seemingly fathomless dimensions intended to render the club or your head underwater, thanks to a still remarkable grasp of purified tonal minimalism/maximalism and studied sensitivity to proprioception.
The results are filigree yet robust, firmed up for deployment on the sickest sound system you can lay your hands on, but also highly pleasurable in a headphone or sofa-inclined context, keeping us rapt and twitching from the dubwise plong and looming pads of Uni Sub and the Robert Henke-esque pressure systems of Uni Mia.
The nervous skeleton of Uni Version flows into singular Alva Noto sounds in the jabbing pointillism of Uni Clip and the staggering scale of Uni Normal, with major highlights in the widescreen drama of Uni Blue, and footwork-like rapid movement join Uni Edit, while Anne-James Chaton’s vocal lend a sharp contrast in Uni Dna.
Space Dimension Controller, a.k.a. Jack Hamill, may be landing his debut release on Dekmantel, but he’s definitely no stranger to their shores.
"With the three-track EP ‘Gaining Time’ clocking in at over 35-minutes, phasing between cosmic kaleidoscopic house, and serene, epic ambient, — a sonic atmosphere reminiscent of the background resonance the galaxy permeates on a daily basis — Hamill’s Dekmantel debut is closer to that of an album, than your average set of club tracks."
Kohl is the dub-based project of New York City artist and musician Nathaniel Young.
"With Kohl, Nathaniel focuses on enveloping melodies and sounds that are often contrasted with subtle and evolving minimal textures and the rhythmic patterns generated from them. The resulting music is contemplative and warm, invoking reflection while maintaining a sense of motion/evolution. The Kohl project is an outlet for personal transformation; it is Young rewiring his understanding of morality and ethics.
Interpretations of ‘right’ and ‘wrong’, ‘good’ and ‘evil’. Musically, Learned Ethics / Imposed Ethics is a fine collection of ultra-textural ambient pieces with minimal changes like "The Possibility Of The Infinite", slow tempo tracks like "Moral Supposition", the dance-floor focused "Resolution (Empathy)", and "The Inquisition", which displays Kohl’s signature dub-techno style."
No Fool Like An Old Fool is the new album from Austin via Alabama musician, Caroline Sallee, aka Caroline Says.
"Moving beyond the surf-folk foundations of her debut, on No Fool... Sallee loosens her earthly tether, allowing her songs to float to ever higher altitudes on clouds of loops, immaculate melodies, and hypnotic harmonies, as she sings about aging, the daily grind, and hometown stymie. Moving to Austin in 2013 gave her a new perspective on her hometown of Huntsville, Alabama, which informed the overall vibe of the album. "I think leaving my fairly small hometown and then going back to visit it inspired the feeling I went for on this album. I observed that so many people I knew were content doing basically nothing. Or that they were scared to try to do anything or leave town, like they felt stuck there."
The first few notes of the Daniel Rossen-esque opener "First Song" dutifully establish the surreal and slightly tragic tone of longing maintained throughout the album. The curiously upturning melodies ride out on a rich ambient texture before "Sweet Home Alabama" cuts the fog with a crackling 60's soul loop that's charming and catchy enough to induce a cathartic laugh from the listener. The brightness fades with the frosty and propulsive "A Good Thief Steals Clean," which features lyrics inspired by the 1971 lm Panic in Needle Park, and the idea of being in love with a heroin addict. "I tend to write from the perspectives of characters in dark situations, even though my songs may sound bright," Sallee notes of her alluring juxtaposition of sunny production and grim lyrics.
She employs this dynamic again on "Rip O ," a frenetically percussive song with lyrics inspired by an NPR story about a young Iraqi man who was killed in an ISIS bombing just before moving to NYC to become a professional dancer. Inspired by Terrence Malick's Badlands and Bruce Springsteen's "Nebraska," the song "Black Hole" features multi-voice harmonies sung from the perspective of 50's spree killer Charles Starkweather. The hurdles she navigated to record naturally led to ad hoc recording techniques, and endless sonic experimentation, often leading to her use of the computer as an instrument. A tireless worker, and a wellspring of creativity, whatever Caroline Says, we will be listening."
Deaf Center and Svarte Greiner’s Erik K Skodvin has long been perfecting the kind of music that's tailor made for cinema, and here he does just that - providing a score for Danish film "Darling" (2017), alongside a collection of outtakes from it.
Made in collaboration with Raúl Pastor Medall (Rauelsson), the pair were commissioned by director Birgitte Stærmose to score her film about life as a dancer. The resulting material is remarkably cohesive, especially so considering it’s made up of pieces Skodvin and Rauelsson made in collaboration, as well as individually. You can imagine the sort of sounds the pair create - if you’re into the work of Jóhann Jóhannsson you’re in the right ballpark - but what differentiates A Score for Darling is the unique use of low end rumbles and pulses that anchor these recordings and imbue proceedings here with a cohesive, album-like feel.
Generally, the material here is brimming with dynamics and diversity, featuring violin by Christoph Berg, cello by Anne Müller as well as a mass of other sounds like church organs, synths, guitar amp violation, electro-acoustics, piano and more, all layered together into 15 beautiful mood pieces. The final piece of the album Breathe - featuring Otto A Totland on piano and Katinka Fogh Vindelev on voice - can be seen as their own lamenting end-title to a longer period of work with this album, finally finished. It’s also, hopefully, a glimpse of what new material from Deaf Center might sound like, if we’re ever lucky enough to get to see that happen.
Brainfeeder present a special ‘chopped not slopped’ mix of Thundercat’s ‘Drunk’ album (2017) by DJ Candlestick and OG Ron C of Houston DJ collective The Chopstars. Slowed down and chopped up , the mix has been appropriately re-titled ‘Drank’. “If you got ‘Drunk’ it’s only right that you get ‘Drank’. I feel like they go together,” declares Thundercat.
For fans of Flying Lotus, BADBADNOTGOOD, Kendrick Lamar, DJ Screw.
Halcyon Veil present Renick Bell’s debut long-player, the follow up to his 2016 release for Lee Gamble's UIQ imprint.
"The 10 tracks on Wary come from Bell's practice of live coding in the algorave tradition; a distinct technique that involves manipulating a vast library of samples with text-based editing software. The album is an improvisatory gesture that sets him well apart from the DAW preset crowd, and one that draws equal influence from free jazz, King Tubby, Mark Fell, and Pan Sonic.
Still, as the musician points out in a paper he authored in 2014, live coding isn't a genre; it's simply a performing method. To focus on the technique is to lose sight of the huge amount of flex and funk that's contained in these tracks, from the vivid, elastic bass of opener "Root of the Light," to the blissed-out dub pads and FX of "Recognizing Conditioning," or the racecar-fuel lead synth in "Cyclical Forces."
These tracks, while constantly intricate, are just as often tuneful and memorable. "Resolute in Shedding" is a perfect example of Bell's disparate musical ingredients cohering into something with enough swagger to tear up a sound system or turn a dancefloor on its head. "Cliff-face Growth" similarly underpins its frantic high-register synth work with a staggering sub-bass kick that immediately pulls the listener into the club.
The artwork, a bubbled hive of play buttons, comes courtesy of Jesse Osborne-Lanthier. The overlapping and swarming aspect of the art reflects the disorienting barrage of sounds that Renick Bell's tracks can throw at you, such as the pummelling percussion drive in "Fluid, Open." The uncanny, synthetic replication of the stippled buttons brings to mind Bell's own musical and technical replication. Although the patterns might be obscured they are never truly absent; everything is held together at all times by Bell's precise sense for what is genuinely striking.
Renick Bell has made legitimately new-sounding music here. Filled with breathtaking percussive bombs, icy needlepoint synthesis, and a defiant refusal to conform or relent, Wary speaks a complex and consistent language that's deeply rewarding to those who take the time to learn it."
Boy Harsher find a fine line thru EBM and darkwave synth-pop with ineffable élan on their debut for Ascetic House, neatly benefitting from mix and master by Maurizio Baggio (The Soft Moon, Merchandise).
Their Country Girl EP sounds like it was dialled in direct from 1986, with sleek, rolling bass arps, glass-eyed gynoid vocals and lusting synth pads seemingly construed for the dry-iced runway of the mind. It could just as easily soundtrack a hi-end fashion show as lure you into a redlit basement, feeling out immaculately realised vibes between the effortless flow and ache crooning of Motion thru the wickedly skizzy light/dark/light twist of Country Girl, to the early ‘90s synth-pop sensuality of Underwater, and with super infectious freestyle inflections that funk up and counter Jae Matthews’ perfectly aloof vocals in Westerners.
Jamal Moss turns to his brightest moniker for the astral trajectories of The Anticipatory Organization on Pedro Vian’s Modern Obscure Music
These are some of the more intense, freaky Jamal Moss workouts in recent memory, gettign into orbit with the acidic glissandi and head-warping phasing of The Things We Don’t Know, then staying out there with the oddly bass-less and heady pressure of The Disbelief Habit, until you’re suitably prepped for the blinding white light jackers intensity of The Achievement Factory, one of those real golden moments in the Jamal Moss canon.
Four cracking Sun Ra pieces, roving from the possessed tongues and earthy hustle of Island In The Sun, thru more astral, free vectors in New Dawn, to the wonky big band vibes and growled vox on Unmask The Batman, and amazing Afro-Astro hustle in I’ll Wait For You.
"Strut and Art Yard present another exclusive from the vast catalogue of cosmic jazz pioneer Sun Ra: a previously unreleased radio session most likely recorded at the WXPN FM radio studios in Philadelphia, 1974-5.
This newly discovered session features a new version of Ra’s earlier ‘Island In The Sun’, a romping, raucous rendition of ‘Unmask The Batman’ and the first studio recording of ‘I’ll Wait For You’ There is no bass player on the sessions and Ra’s left hand beats out a rhythmic bass pattern on the piano. All tracks are remastered directly from the original tapes. The album package features a newly commissioned painting by legendary Bristol urban artist Guy Denning and new sleeve notes by Paul Griffiths.
Recently discovered in the Sun Ra archive, the recording forms part of a series of sessions that Ra and the Arkestra recorded for WXPN-FM between 1974 and 1980. The ‘Antique Blacks’ album was recorded there in ’74. Based on the campus of The University of Pennsylvania, WXPN’s station manager Jules Epstein and music director Russ Woessner were instrumental in the exposure and recording of The Arkestra in their broadcast production studios. Geno Barnhart, founder of The Empty Foxhole concert collective, Jules and Russ broadcast an on-going series of jazz concerts covering a wide spectrum. The Arkestra performed at The Foxhole in Philly many times from 1974.
Personnel: Sun Ra: Piano John Gilmore: Tenor Saxophone Marshall Allen: Flute, Alto Saxophone Danny Ray Thompson: Baritone Saxophone, Percussion Atakatune: Oboe, Congas Eddie Thomas: Drums Elo Omoe: Bass Clarinet, Hand Claps Akh Tal Ebah: Trumpet, Vocal James Jacson: Congas, Vocal"
Hospital Productions return with Dual Action's Industrial mutations of Techno, D&B and electronic variants smudged with clammy ambience, compiling the hard-to-find 'Babe Beer Bar Car' tapes released between 2014-2016. If you’re into John T. Gast, Christoph De Babalon, The Haters or Frak, this one’s for you.
Compiling some of Matthew Folden, aka Dual Action’s most sought-after material, this set of forays into distorted Ambient, mutant House and Jungle - even weird sorta Grime and Footwork variants - was originally released on his hard-to-find Babe Beer Bar Car tapes, issued between 2014-2016 - and compiled here onto vinyl for the first time.
A core figure on Prurient’s label, affectionately described by Fernow as an “uninvited guest sort of figure who travels around fxcking shit up on the lonely”, Folden has appeared on numerous and seminal Prurient recordings including the demo version of the groundbreaking Bermuda Drain album, the final tape recordings made at the original hospital productions brick and mortar store as Prurient’s ‘Oxidation’ and the new released 7LP of doom electronics Rainbow Mirror which arrived in 2017 to commemorate the 20 years of the project.
Babe Beer Bar Car takes in signature sluggers that sound like The Haters gone house, thru to rolling D&B and footwork rhythms fringing on the grey area, each half-lit by patented atmospheric pollutants.
The set builds a murky picture of a character who spends long nights with his drum machine - it’s hard to shift the feeling that this is the kind of music - numbly expressive, rudimentary and bluntly driven by urges - that someone befitting of the great American lounge-lizard/drifter stereotype might make, or at least listen to, after dark.
Its a quintessentially Hospital Productions sound - deeply satisfying in its mix of black humour laced with flashes of demonic genius.
Adroit, UK-compatible bass and breaks pressure from Brooklynite Kellen303, working in a smart double refraction of influence, vibes and intent between transatlantic ‘floors for London’s Keysound.
These are dark, broodingly gothic works, stained with an innercity anxiety and trimmed for hard-working club economy, yielding highlights in the ballroom bruk of Planet X and its weightless, devilish remix Planet X (Interstellar), and in the harshly textured and rugged budge of Big Shot! with its machine gun snares and clawed surfaces.
Geir Jenssen a.k.a. Biosphere yields the results of a field recording project on a Dutch farm, commissioned by Incubate festival.
Imperceptibly melded with Biosphere’s signature synthetic palette, the field recordings are effectively reanimated as dreamlike sequences, variously incorporating the sounds of a distant helicopter with shepherd’s calls and windswept choral synth voices in t’Schop, focussing in on insectoid minutiae with Pipistrellus, or indivisibly meshing the real and the unreal in lush pieces such as Audax and the pastoral bliss of Icoon.
Leslie García and Paloma López (Mexico City) have been working for several years around the intersection of music, art-installation and science, with sound being the primary objective of their analysis, acting their roles as composers/creators and observers of the physical phenomenon.
"Their work ranges from experiments with bioelectrical sounds created by living organisms like bacteria and plants, to the use of custom-made sets of hardware they call ontological machines. They usually operate within their own platform Interspecifics, and FRGL is their second release under the moniker: LogarDecay. The sounds contained in FRGL might be their more musical work to date. It is not far from sound art, yet the bright accidents coming out of their improvisations seem to exist in the limits between harmony, rhythm and pure noise as a construction. Its tension sometimes soothes, sometimes mutates into a state between drone, ambient and abstract techno. FRGL is an exercise in transparency that does not seek to hide their errors but to maximize them and turn them into an aesthetic statement."
Mellow but insistent London broken beat and soul vibes on Rhythm Section International
“Long time friend of the label, Neue Grafik, steps forth with his most fully realised offering to date. This record has been a long time coming, born out of a encounter in Paris back in 2016. This meeting of minds led to a blossoming friendship between Fred (Neue Grafik) and Bradley (RS INTL) which has taken them across 3 continents, countless dance-floors and finally crystallised onto this 12”.
The record itself takes cues from the broken-beat sound of London while paying homage to the Parisian house dance scene. Largely sample based, but also employing much more live instrumentation than ever before, Neue Grafik’s music is informed by movement and in turn offers so much for Dancers to respond to.
The EP begins with the lysergic ebbs and flows of ‘Innervision’, ( in which Wayne Snow graces the record with a sublime vocal performance) and moves effortlessly to the uplifting bruk of ‘Dance to Yemanja’ via the staccato of ‘ to Peckham Rye’( a homage to the labels origins) , before finishing on the hauntingly melancholic tones of ‘Aulnay’s Tears’ - an homage to the victims of police brutality in the Parisian Suburb in 2017.”
Byron Westbrook is an artist and musician based in Brooklyn, NY. His work focuses on dynamics of perception using sound, lighting and video to interact with architecture and landscape, often pursuing routes that involve social engagement.
"Confluence Patterns is an eclectic collection of recordings, containing both the sharpest and most pastoral material Westbrook has released. The pieces range from the textured drones of "Vanishing Action" to the Tony-Conrad-plays-Black-Sabbath riffing of "Perception Depth" to the Maggie Payne-influenced "Fractal Shift II”. Westbrook is interested in how sharp contrast can shape the perception of a sound. Working with texture and frequency in relation to listening duration, he considers sonic analogies as to how an afterimage affects the experience of sight.
For example, the pillowy "Drifting Well" has a particular softness after experiencing the fatiguing frequencies and activity of "A Continuous Slip"; and the density and detail of "Glorious Mess" plays in a particular way after the static textures of "Vanishing Action". Westbrook considers these sequential contrasts as integral elements of the work and has performed this sequence as a live set numerous times in recent years. Confluence Patterns is his third music release –after previous works in Root Strata and Hands In The Dark– and his first one in Umor Rex."
The NY-based producer returns to Umor Rex with a new album, in which the musical discourse and the physical form of the release have an equal, crucial importance.
"Sirimiri is made of four long and mid-length pieces, each composed of different perspectives, processes and identities. However, Rafael seeks to blend subjective time with the listening experience. A sort of loop and repetition, sub-sequence-based sound. Following Eno, nothing happens in the same way twice, perception is constantly shifting, nothing stays in one place for long. The sum of the four pieces is 36 minutes; the cassette edition lasts 72 minutes in total, since both sides have the same four songs joined together.
Physically, the format allows us at least two automatic repetitions. In the digital version the songs are independent, but we also include a bonus track made of the 36-minute loop. The desolation and despair (in a sort of positive way) that we got to hear in The Shameless Years (Umor Rex 2017) is present in Sirimiri, but the impression is concrete, with cruder, less rhetorical landscapes. If The Shameless Years was located between beauty and active tragedy, Sirimiri travels inside the beauty and melancholy of an observing eye, a quiet rebel insurrection. Another substantial difference is the distance from general and globalized concepts; in these unfortunate times, Sirimiri looks for personal sorrows, and places its focus on the particular.
Even the names of the songs evoke this in small ways, like in "Sonder", the feeling of realizing that everyone, even a complete stranger, has a life as complex as one's own. Rafael has two guests in this album; Taylor Jordan in "Mountain Strem", and Rafael's hero Carl Hultgren (from Windy & Carl) in "Sonder". Sirimiri means 'drizzle' in Basque, and we cannot find a better word to describe its content."
Villa Åbo in the alternative solo project of Swedish musician and producer Jan Svensson, who has been making electronic music for the better part of 30 years as the artist behind such aliases as Frak, Studio SS and Alvars Orkestra.
"Svensson also runs legendary Swedish dance and experimental music label Börft, the product of a mutual appreciation for Severed Heads and Terse Tapes. As Villa Åbo he released two records in 1997 on Börft and remained inactive for 17 years until the Dutch label Bio Rhythm coaxed him into revisiting the project and released a double 12″ in 2014. Jan has since followed with a steady stream of 12" singles for Kontra-Musik, Noise In My Head and Radio Lundberg.
"Magnetic Moves" is Villa Åbo's debut album, originally released in an limited edition of 65 hand-numbered cassettes by Funeral Fog in 2016. Clocking in at over 46 minutes, this first-ever vinyl edition spreads the 8 ragged techno tracks across four sides for maximum loudness. Some songs are aggressively potent, with cyclical synth riffs and razor-sharp acid lines riding a heavy, funk-fuelled techno groove. Others tracks are more fluid, vintage Underground Resistance or Derrick May with killer drum machine workouts that come in handy as DJ tools. All songs have been remastered by George Horn at Fantasy Studios in Berkeley."
Grandiose synth compositions from the Posh Isolation barracks...
“Cut from the same cloth as last year's double-cassette, 'Like All Mornings,' Vanessa Amara's new album trails shorthand piano pieces and wilted strings through magnificent, electro-acoustic surrounds, often settling into buzzing, syncopated reveries.
'Manos' takes its name from an abbreviated term of endearment. Spoken in this form, it's an affectionate and inclusive gesture from friend to friend, or indeed from gang member to gang member. Vanessa Amara seemingly take their cues from either usage. Their new album feels hesitant to reveal its parts, and is perhaps a document of the limits of what can be revealed, a memorial to its own process as it winds itself in and around its delicately hued landscape.
Though beginning with a morose gait, the album quickly turns over. And revealing its softer self, the clarity of the moving string arrangements hang in the air like fine mist. Everything settles against surfaces as the day breaks, opening up the space, though eventually condensing into the unnerving crescendo of the album's final piece. A recurrent, gentle whirring, much like a gramophone’s needle, tracks through much of 'Manos.' It carefully steadies the listener into a mode of measuring duration, a meditative self-awareness that delivers Vanessa Amara's world.
Always intricate, and effortlessly tender, 'Manos' is an album as textural as it is melodic, and it is certainly the most exquisite suite of works to have been presented by Vanessa Amara thus far.”
Character Collapse, Ian Hicks’ hotly anticipated follow-up to the VIY  EP, and its massive highlight False Awakening, finally lands heavy on JD Twitch (Optimo) and co’s So Low label, sprung from the Glasgow club night of the same name.
With only a necessary inclusion of False Awakening on So Low’s Now & Then EP to tide us over in the meantime, this set is seriously welcome, delivering exactly what we need with the arcing widescreen drag of Character Collapse, then properly putting the boot in on his power anthem Depths of Psyche, while the acid churn of Chemical Environments will quite literally eat the ‘floor from under ya feet, and the chronic dissonance of Continuous will send eyes and bodies spinning in strobe-lit rooms full of smoke.
Birmingham’s deep and rugged house producer Jayson Wynters follows his début for Mr. G’s label and the head-turning Double Standards EP with a 2nd EP for DBA delving into more experimental structures along with his patented darkside house styles.
On three of four cuts Wynters explores a sophisticated blend of vibes from NYC, Chicago, Detroit and Berlin mixed with a ruggeder UK flex, resulting something like Batu meets Kareem in the scowling synths and dark swagger of Beta (Version), or with a more roguish swingjack momentum on Into The Void, and like Ron Trent meets B12 in the lush, sub-heavy roller The Kansei Method.
However, the palpitating pressure of One Hundred N Forty is the one for us, reminding of some classic Chain Reaction reshuffled by The Detroit Escalator Company, or something.
15 hours of recorded sounds are condensed into a vivid sound portrait depicting the way funerals and burials are lived in the Caribbean island of Haiti.
"Recorded in Port au Prince by sound artist Félix Blume in early December 2016, Death in Haiti plunges the listener into a world of pain, loss and solemn celebration as each funeral comprises of its own live jazz band as well as a plethora of characters like the joker (le blaguer) who cracks jokes and tales about the recently deceased. A beautiful document of a thriving tradition, a counterpart or updated version of those famous Dirge Jazz records such as the New Orleans’ Eureka Brass Band on Folkways.
About the artist: Félix Blume is a sound artist and sound engineer. His personal work is based on field-recordings and uses sound as a raw source, in sound pieces, radio plays, videos, actions and installations. A particularity of his work is that the audio and visual aspects are closely intertwined. As a sound collector, he has a large sound library recorded from different parts of the world that he freely shares on the Internet. His work as sound engineer focuses on sound recording, sound design for documentaries, feature films and video art, collaborating with different directors and visual artists.”
Pivotal techno pioneer Susanne Kirchmayr a.k.a Electric Indigo presents a filigree detailed début album of high-end techno electronica with 5 1 1 5 9 3 for Robert Henke’s Imbalance Computer Music label.
Mainstay of the Berlin scene since she moved there from Vienna and took a job at Hardwax in the early ‘90s, Electric Indigo’s name and output is synonymous with the city’s leading edge of clubs and sound art thanks to her uncompromising aesthetics and vital work with the Female:Pressure group, which she established in 1998.
After some dozen 12”s with her name at the top, including a recent turn on the Berghain 08 EP, Electric Indigo now offers a definitive cross-section of her sound in 5 1 1 5 9 3, combining her praxes in the ostensibly opposing but often interrelated spheres of academic sound art and club music, in 10 uniquely twisted permutations of computer music, electro-techno and electro-acoustic styles.
While unremittingly greyscale in tone and minimalist in structure, 5 1 1 5 9 3 still possesses a depth of colour and striking variation of pattern within those parameters. The result is Berlin techno music at its probing, icy best, especially in the rhythm-driven highlights such as the recursive electro-noise vortex of Excursion, the purist pressure of 4.31Hz and quite strikingly in the Anne-James Chaton-esque rhythmic vocal cut-up of Trois, and to neck-cricking degrees with the immense spatial proprioceptions of The Landing.
For their 2nd Transformations meeting, DeepChord & Fluxion work to a more subtle shadowplay of vibes
Starting with the stealthy roll of Bona Fide Pt.1 recalling Moritz von Oswald’s memorable remix of 2raumwohnung, but sans the vox and pads, while Pt.2 melts out into more languorous and dusky balearic styles.
Techno, Berlin style, from a relatively new guy on the ‘floor; Somewhen.
Where Ostgut Ton’s previous release, Answer Code Request’s Gens album, worked a really cheesy mix of Breaks and IDM electronica, this guy makes up for that misstep with five shots of driving, twysted, fresh techno in the EBM-toned banger Ryte, on the lusting darkwave swagger of Undress, and the lockjawed pounder AFL.
Wisconsin’s electronic gremlin Chants reenters The Astral Plane with a taut, stripped down brace of bangers dilated and porous to trends in new and far flung rhythms.
RED (Off My Chest) establishes Chant’s dancing room with a catty, claustrophobic vocal by BE3K set to bolshy ballroom knocks; Diptych finds him feathering solo piano gliss into cavalcade of roiling Batacuda drums; Airtight follows on with pranging percussive dynamics like Rian Treabor doing it for Príncipe, and likewise Madh made comes off like a strobing DJ Nigga Fox piece. Gage is prime nomination for the remix of Red, turning in a pent-up and asymmetric rework cut-up with scything chops.
Will long returns with a second volume of 'Long Trax' following that incredible first run alongside DJ Sprinkles.
Following his sterling run of raw, politically-charged deep house releases for DJ Sprinkles’ Comatonse, Will Long (Celer) pairs samples of Afro-American figureheads with sublime, rolling grooves in a beautiful extension of the Long Trax series.
Nothing’s Changed features sparingly used snippets of Barack Obama on a lean, simple, and deliciously smooth 11 minute groove gilded with signature chord cadence, while B-side he treats Jean-Michel Basquiat to a swim in deepest house water on the hazy 10 minute movement.
Also featured is a sensitively raw and low key spin on the style with gauzy samples of Angela Davis laced into the 12 minutes of keening float in The Struggles, The Difficulties and Richard Pryor and leading Black Panther Ericka Huggins in two more signature, raw, extended deep house grooves.
Marie Davidson & Pierre Guerineau’s Essaie Pas duo pay tribute to PKD’s classic sci fi novel A Scanner Darkly with a dark, suspenseful cinematic and driving suite of electro and synthscapes for DFA.
New Path finds the duo mirroring the book’s themes of mass surveillance, voyeuristic technology and drug culture thru a range of evocative strategies, both literal and oblique.
From insectoid rhythms emulating the effect of narcotic psychosis in Les Aphides to the record’s titular reference to the New-Path rehab clinics, the results are riddled with inference and explicit nods to the book, resulting in some superb highlights in the duo’s nerve-riding hot-stepper Les Agents Des Stupas, where they make great use of the Ensoniq ESQ-1’s sharp tones, and also the pendulous, shadow-strafing killer Substance M, with the cinematic depth of New Path providing neat closure to their short story.
Advanced UK soulboy Steve Spacek keeps it flowing for Eglo on four classically-rooted but forward-leaning aces
Awanging out the hi-tek-jazz duet of Mov Clsr, the SND-esque pointillism of Garage Days, a fudgy bleep ’n bass number named Boo Boo Step, and the starry-eyed footwork flux of Nano Nights.