American rage on wax...
“Following the release of critically acclaimed LP Wake in Fright, which had two songs featured in the new season of David Lynch’s Twin Peaks, it was time for Uniform vocalist Michael Berdan and instrumentalist Ben Greenberg to return to the studio. The duo decided to up the ante and add a third member to help perfect their vicious post-industrial dystopian cyber-punk. After some deliberation, Greenberg called upon drummer Greg Fox (Liturgy, Zs) to help round out the sound they were looking for. Using a mix of triggered samples and real drums along with layered synths and good old electric guitar, the trio arrived at what would become The Long Walk after only a few short days in the studio.
From the opening whirr of the title track, it’s clear that the band is onto something special. Recorded in Strange Weather studios in the first part of 2018, The Long Walk is eight new tracks by the duo of Greenberg and Berdan, incorporating Fox’s skills behind the drum kit to add an entirely new dimension to the signature Uniform sound. Ditching sequenced tracks, Greenberg opted for single takes to highlight the Frankenstein-like guitar-bass-synth hybrid that oozes throughout the recording. Meanwhile, crushing guitar thunder is punched up by Fox’s masterful drumming while Berdan’s cries from the nether feel more desperate and morose than ever. This is Uniform at its most bleak, emotional, and powerful.
Lyrically, The Long Walk deals with paradoxes in spirituality and organized religion. Growing up in a devout Irish Catholic household in an Irish Catholic neighborhood, Berdan went to Catholic school for most of his primary education, and even was an altar boy. Fear of Biblical hell and damnation felt tangible. As Berdan grew and matured emotionally, he began to reject Catholicism bit by bit, viewing the church as a judgmental, repressive people who choose to live their lives dictated by hateful, fear-mongering dogma.
In the recent past, Berdan found himself slowly reconnecting with his Catholic background, observing how the faith that he found so repressive served as a great source of comfort and strength for so many. Eventually, Berdan began to view at the root of Catholicism and all major world religions a practice of love, tolerance, peace, and altruism. He began identifying as Catholic again, finding that basic tenets to be good guiding principles for daily life. Yet therein lay the contradiction that drove him from religion in the first place — many of the human traditions of the church also dealt in repression, intolerance, and bigotry, and some of mankind’s most hateful acts have been carried out in the name of God. Could one observe the rituals and practice of a faith while acknowledging and rejecting its ugliest elements?
The title The Long Walk comes from a Stephen King (writing as Richard Bachman) dystopian novel about an oppressive government that forces some of its children to endure a grueling game where there is only one survivor. In this case, it’s an allegory for an extended march away from comfort, family, and faith, and eventually into an amorphous sense of spirituality that can be understood on a personal level.”
Djrum strikes a fine balance between his beats and rekindled classical piano skills, also featuring Zosia Jagodzinska (Cello), and Lola Empire (Vocals). Check for canny highlights in the rudely serpentine swerve of Sex and the scrollin hardcore tapestry of Showreel, Pt. 3.
“'Portrait With Firewood' is Felix’s most personal body of work to date, the product of an emotionally turbulent 2017, capturing the range of feelings and emotions he went through in vivid sonic beauty. By putting aside his previous sampleadelic approach he returned to his childhood instrument of the piano as a core starting point.
"It's a confessional record… I realise that's a word mostly used to describe singer/songwriter rather than (largely) instrumental music, but I think it's apt. There's a sort of emotional candour.”
Felix is classically trained in the jazz tradition and influenced by the likes of Keith Jarrett and Alice Coltrane. Previously he was shy at the prospect of fans hearing his piano playing, but determined to overcome this fear he has brought forward a new honesty to his work. "Finding the confidence to work with my own piano improvisations was a big part of that. Once I had figured out how I was going to make the music, it actually fell in to place rather quickly.”
Felix's goal was to create something "overwhelmingly beautiful", but also to capture the "inherent melancholy in beauty in all it's impermanance and fragility". He took inspiration and solace from performance artist Marina Abramovic. "She has an incredibly deep understanding of the human condition, and expresses it in such a poetic way. Many of the themes of her work had particular resonance for me over the course of 2017 as I worked on the album. I was moved to tears on several occasions watching her videos or reading about her work.”
Felix collaborated with cellist Zosia Jagodzinska and vocalist Lola Empire. Jagodzinska recorded several takes of improvisations over the track 'Creature' which Felix would chop, pitch and layer into new melodic lines and seed throughout the album.
Felix's new approach expanded to experimentation with field recording, contact micing his beloved piano and purchasing his first hardware synth, all in service of enriching the personal, humane quality of the record. "Music helps me to communicate the sorts of things that I find almost impossible to put in to words. I think the process for this album has helped me create a more rich and emotionally complex body of work than I have managed before.””
Relentless, wickedly stylized UK bangers from Anz, arguably one of Manchester and the UK’s hottest DJ/producer properties right now
Originally dispatched in late 2017 on the label arm of Chow Down, a pivotal Manc grime night where Anz shares resident duties with Finn and Fallow, her eponymous debut is testament to the city’s mutant, high energy club sound, in flux between darker drill and trap, hyper-coloured grime, and ghetto techno.
‘Panic’ is a heat-warped, hyper-tropical grime mutation recalling LD and D1’s wildest scanners, then ‘Clanger’ dials in cartonnish grime melodies on a severely dank drill half step, before ‘Fencin’ tramples like Zomby in Terminator mode, and ‘Loa’ executes some classic grime juju like a darkside warehouse take on Skepta’s ‘Stage Show Riddim’.
Call it murder.
Kuedo’s Knives present a scintillating ‘mixtape’ of sorts by L.A.’s Nicholas Zhu a.k.a. bod...
With Limpid Fear bod invites listeners to swan dive into his mind and see/hear/touch the sights, unfurling as 30-odd-minutes of electronic filigree laced with traditional Chinese instrumentation subtly framed in classical chorus and composition.
It’s a style already familiar to Knives releases, from the expansive visions of Kuedo to the precision of J.G. Biberkopf or v1984’s melodramas, but bod distinguish themselves by the inclusion of sylvan sadlad bleats and Chinese instrumentation, which cannily loops back into Vex’d roots in sino-obsessed grime and dubstep as much as his fascination with classic anime soundtracks, which is possibly the best prism thru which to view this release - as an action-packed and emotive rush of sound images in flux between rapid motion, desolation, panic and ecstasy with an accelerated intensity of sensation.
Ekin Fil revels in negative ecstasy on her 4th haunting for the sympathetic ears at Helen Scarsdale Agency. Make sure to check for the Sarah Davachi-like spectre of ‘On The Move’ and the billowing glossolalia of ‘Nocturnal Arc’ for her most shivering sensations, and clock the closing number ‘At Dawn’ for a surprising new electronic angle to her sound recalling the most opiated Alessandro Cortini works
“Ekin Fil continues her quietly complex dream-pop oeuvre on Maps. For many years now, this Istanbul musician has been writing mysterious and haunting songs, rich in heavy-reverb effects and an introspective torpor. With each successive album, her songwriting has blossomed through broader instrumentation and more intricate melodic phrasing, though the somber atmospherics and ghostly manifestations remain a judicious constant. Minor-key, tear-stained notes of piano, organ, and guitar veer along elliptical orbits as a soft-whisper lilt of Ekin's voice narrates more by emotive decree than by literary couplet.
Maps addresses the distance and dislocation of the self from the bustling center of Istanbul, where Ekin FIl (neé Ekin Üzeltüzenci) had once called her home. Having spent her first winter on a relatively quiet island in the Sea of Marmara (while still in the greater metropolitan umbrella of Istanbul), Maps is "lonely, different, kind of isolated," according to Ekin, who also noted that the island had "too much silence around. There is no other choice but to concentrate, I guess." Her poetics of silence on her previous recordings had been noted as an antidote or a dream capsule of sound in response to Istanbul's cauldron of politics, culture, and philosophy that has been boiling almost since the beginning of civilization. Maps bends that maritime silence into wind-swept smudges that complement her already spacious compositions.
The saddest songs of The Durutti Column excised of rhythm and those few plunges into sorrow by Harold Budd make for apt comparisons to Maps, in addition to the drone-on classics of Grouper, Slowdive, and Sarah Davachi. “
Ceephax surfs the retro-futurist zeitgeist with infinite finesse on ‘Camelot Arcade’, the fanciest steed in his now 20 year long catalogue
From the campy cover art pose to the classically eldritch music of ‘Camelot Arcade’, Ceephax proves himself the last of a possibly dwindling breed of English rave eccentrics. After 20 years of releases, he still manages to eke out charming new grooves from his trusted hardware set-up.
However, there’s less acid and more vintage analog synths this time, resulting a broader spectrum of classic-referencing styles between the glyding Italo-Electro of ‘Creon Happy’, the high-velocity techno depth of ‘The Green Night’, and the cascading cod-classical keys of ’The Great Gatsby’, and always with that winking, playful virtuosity that has elevated his music beyond the rest of the field - always innovating within his niche, never content to imitate.
Another dusty peach from ATFA: an 8-track Afro-Country album recorded in Abidjan, Côte d’Ivoire
“In the 1980s, Abidjan’s Jess Sah Bi & Peter One became one of the most popular musical acts in not just the Ivory Coast (Côte d'Ivoire), but broader West Africa, eventually performing with a full band to stadium-sized audiences at home and throughout Benin, Burkina Faso and Togo. Although they’d been popular radio and television performers for several years prior, the catalyst for Jess and Peter achieving this new level of stardom was their debut album, Our Garden Needs Its Flowers, recorded and released in 1985.
In contrast with the heaving funk, disco and reggae sounds of the day, Our Garden Needs Its Flowers was a lush fusion of traditional Ivorian village songs and American and English country and folk-rock music. Jess and Peter sang in French and English, delivering beautifully harmonized meditations on social injustice and inequality, calls for unity across the African continent, an end to apartheid in South Africa and the odd song for the ladies, all set against lush guitar riffs, rustic harmonica and rollicking feel-good rhythms.
Wrapped up in the sort of pop sensibilities that see YouTube rips of their music littered with nostalgic French-language comments reflecting on a time now some thirty-plus years distant, Awesome Tapes From Africa’s reissue of Our Garden Needs Its Flowers memorializes the best intentions of the golden years before the Ivory Coast’s social, cultural and political landscapes transformed radically. Surprisingly, it’s the first time the album has been re-released in a high-fidelity, legally licensed form. (Currently available versions for sale on digital retailers and posted on YouTube are bootleg recordings of a crackly LP; no one has sent the artists royalties for these sales.)”
Paranoid London pay tribute to legendary San Fran DJ, Bubbles Bubblesynski, who was tragically gunned down in 2017, nearly putting an end to their plan to make music together…
“We met Bubbles at the Sunset Campout in California last year after giving him a pair of socks to pad his bra out. He was exactly the kind of character we love to work with & we all decided that we should make a track together. The week that we were supposed to send him a backing track tragedy struck & he was gunned down & killed in the Tenderloin District of San Fransisco … San Fran-fucking-sisco! The one place on Earth he should have been safe. To date the crime remains unsolved & nobody has yet been charged with his murder (although it is pretty much an open secret who was responsible).
The next time we were in San Fran we were talking to mutual friends & they told us how excited he was to be doing the record. We couldn’t let that slide so we decided we had to make the track.
We took some audio from his Facebook account (a piece of film where he breaks in to a construction yard on his own, sets up his decks & holds a rave for himself), did our usual repetitive drums & acid and married the two together. The result is The Boombox Affair.
Finally, this record is a celebration of Bubbles’ character & vitality & a celebration of the diversity of our culture at a time when we all need reminding that dancing itself can be an act of subversion & revolution. Dance your asses off, drink, party, get off with each other: it’s what he would have wanted.”
From a basement in New Jersey, Tommy Falcone remade himself into a DIY Phil Spector. From 1962 to 1970, he founded and ran Cleopatra Records, discovered and mentored young Garden State talent, wrote songs and produced wild studio effects, and quit his day job to promote it all himself.
"Trained as an accordionist, Falcone had a whirlwind imagination and an omnivorous approach to genre, expressed through acts like the Centuries, the Tabbys, Johnny Silvio, the Inmates, Bernadette Carroll, the Hallmarks, Vickie & the Van Dykes, the Shandillons, Eugene Viscione, the Shoestring, and more. Cleopatra became a time-capsule of every 1960s pop style imaginable—garage rock, psychedelia, surf, girl groups, soul, novelties, exotica, even a crooner—a kaleidoscope of sound in search of the ever-elusive hit record."
David Lynch and Sacred Bones’ relationship bears sublime, vintage fruit with ‘Three Demos’ by Julee Cruise, dating to her earliest recordings with Lynch & Badalamenti that would become her debut LP, ‘Floating Into The Night’, as used on ‘Blue Velvet’ and ‘Twin Peaks’
The recordings yield a rare peek behind the red curtain of Lynch and co in the mid-late ‘80s, spying the formation of what would become one of modern culture’s most indentifiable, influential and referenced pieces of music.
Taking in the original Floating (Demo), which opens with a whispered spoken word into - “ever since you kissed my eyes / I find myself alive / I’m floating”, along with the timeless lullaby of Falling (Demo) a.k.a. the Twin Peaks title sequence music, and the intimate whimsy of The World Spins (Demo), this is a precious slice of history not to be missed by any fans of Lynch or indeed smoky, ethereal ambient / jazz / soundtrack music of all stripes.
Heavy-lidded, psychedelic electronica and slow house downstrokes from Argentine producer, Dissmentado
“A hypnotic time-capsule courtesy of Dissmentado aka Ismael Pinkler from Carisma and Kompakt collaborator, Máximo Graesse Bondino.
Recorded during summer trips in Buenos Aires and spending autumn in Tromso, Norway between 2006 - 2010, Maximo and Ismael met several times during that period and used friends houses and studios to produce a long list of material, selecting later the best of it for this compilation.
The tracks are long and slow, with deep and moving beats and long background sounds dedicated to warm up dreamers and after hour survivors.
The elements develop their movements in a relaxed way through the tracks creating a loose feel. Every beat was played with their hands and there is no arpeggiated melodies to remind you where the ground is.”
Late 2016’s ‘Highway Songs’ brought Papa M back to us, after many years of silence and several harrowing dances with death for his Id-ego/host body, David Pajo. Now, two years on down the road, we’re all here again to witness ‘A Broke Moon Rises’.
"‘Highway Songs’ was a necessarily cathartic experience in all phases. Afterwards, with no tour dates forthcoming (partially due to lousy clubs and their lack of wheelchair-accessible stage doors), it felt good just to play for fun again, like being in the practice space instead of the psych ward - a much healthier change of pace than some might guess. David blew it out; all the different styles he’s played in over the years, from folk-blues to metal, electronic, pop, Bollywood... all of it. When the spasms subsided, however, a back-to-roots sediment remained in the bottom of the bowl, which he read as a motive for a new Papa M album done with all acoustic instruments.
That’s how there’s nothing electric about ‘A Broke Moon Rises’. Even the drums are acoustic. The five songs of ‘A Broke Moon Rises’ find David focusing his technique in unknown directions, to find out what he can do with them. When that happens, he finds himself on the very spot where Papa M music becomes alive. As the quietly funereal march of the opening track resonates with a spare drum beat, we are completely transfixed into the open spaces around the guitars. David’s been engineering and mixing his records for years, so the sensation of his sound-thoughts doesn’t entirely surprise us, even in their latest, acoustic anointment. Layers of guitars curl and unfurl, falling away from the centre with feathery softness. Slide figures cut through the progressions with a rusty glide. Arpeggiations flicker with light, leading into a change that’ll break on ones ear like a small revelation. Even the sound of Papa M playing in the room, leaning forward or untouching the strings, provides textural byplay in created space. ‘A Broke Moon Rises’ is meditative in the most active sense, with the unquiet mind leaping from place to place in a static, spartan theatre. All of which action makes hypnotic music, perfect for listening.
The album’s title is based upon his son’s observation of a half-moon one evening (when his son was 29) and it helped infuse the record with an essential feeling, which draws to a decidedly tasty conclusion with David taking on an Arvo Pärt piece. After years of fascination with the music, listening in passivity, he finally decided to do something about understanding it by playing it himself. If you’re wondering, that’s the key to ‘A Broke Moon Rises’."
Pivotal Golden Püdel düde and Helena hauff collaborator F#X yields an hour long live-set recorded at +4Bar/Tresor on 16th December 2016 for Nina’s roving V I S label
Known as Kris to his pals, and as both C (with Nika Son), and Black Sites (with Helena Hauff) on discographies, F#X is his solo vehicle for hot-wired, raw and off-kilter electronic grooves, previously found on two tapes sparring with his other alias, E.K.G on his private imprint, 999USD.
‘9.12+4’ is effectively the first F#X release proper and a strong example of his mostly improvised praxis. Over the course of an hour long set, brittle electro drums fray and spray over hypnotic, gibbering synths and plasmic drones, spooling into piquant, chromatic Braindance melodies and sputtering IDM that sounds like a raw echo of the D’Arcangelo brothers’ productions or indeed, a not-so distant relation to Helena Hauff’s scuzzy rinsers.
Rose McDowell’s enchanting but long-overlooked Sorrow album, reissued for the 1st time in 25 years
"Sorrow is an English-based band that is the brain child of Rose McDowall, once known as one half of the '80s pop duo, Strawberry Switchblade. Rose's first band was called The Poem, an experimental three piece based in her hometown of Glasgow. While still with The Poems, Rose also joined with Jill Bryson as Strawberry Switchblade. The Poems released one EP entitled Achieving Unity, but they broke up shortly after its release, when Strawberry Switchblade began to gain popularity. Switchblade's top-five hit, "Since Yesterday," is featured on many '80s compilations, and still receives considerable club and radio play. Switchblade disbanded in 1986.
Since 1985, Rose has worked with many other bands, including Current 93, Coil, Death In June, Felt, and Psychic TV. Through the years Rose has carried on working in a more experimental vein, and ultimately formed Sorrow, releasing their first LP, Under The Yew Possessed, in 1993. They have since produced: Sleep Now Forever (1999), Final Solstice (1999), and Let There Be Thorns (2001)."
Despite praise and acclaim throughout his career, Roy Montgomery hates his singing. From his point of view, it’s done out of necessity, when he doesn’t have anyone else around to substitute.
"Roughly one quarter of Montgomery’s epic multi-album 2016 release R M H Q had his singing, and those are his least favorite tracks. Grapefruit has done the best they can to argue that his basso undertones are the center of his appeal throughout his entire body of work, from the first The Pin Group single on Flying Nun in 1981, through his work in Dadamah, Dissolve and on to his legendary ’90s solo releases. However, is it a surprise he jumped at the idea of composing an album for other vocalists? This began as a series of alternate takes of the material on Tropic Of Anodyne, the tracks with vocals off his last release.
That concept morphed into assembling vocalists to sing on new songs, and he conceived instrumental material that would fit each singer. Half of the songs came together, resulting in Suffuse. The album charts a slow progression from those who share similarities with Montgomery’s rumbling vocal technique to those who come at singing differently, with minute contrasts throughout. Haley Fohr (Circuit des Yeux) and Jessica Larrabee (She Keeps Bees) bring the first two tracks, with Katie Von Schleicher following with a raw expression of emotional loss, and the sisters Clementine and Valentine Nixon (Purple Pilgrims) expressing emptiness by stripping away words, weaving their voices together through Montgomery’s elastic webbing.
Julianna Barwick adds drive and nuance to the foamy sonic waves of “Sigma Octantis,” as “Landfall” crashes in slow motion chaos over Liz Harris’s (Grouper) multitracked layers. These compositions generously embrace their guest leaders, and for the first time in his career, Roy Montgomery has made a cogent artistic argument as to why he shouldn’t be singing these songs himself."
Bound to beguile and even shock their legion followers, Animal Collective genuinely push into experimental psychedelia with their ear-testing soundtrack to a visual study on coral reefs...
“Tangerine Reef is a full-length audiovisual album by Animal Collective (Avey Tare, Deakin and Geologist), in collaboration with Coral Morphologic, to commemorate the 2018 International Year of the Reef. Tangerine Reef is a visual tone poem consisting of time-lapse and slow pans across surreal aquascapes of naturally fluorescent coral and cameos by alien-like reef creatures (note: no CGI or artificial enhancement was used in this film). Tangerine Reef is the sight and sound of a literal underwater collective of animals.
In 2017, the Borscht Film Festival commissioned Coral Orgy, a collaborative site-specific performance by Animal Collective and Coral Morphologic ‘celebrating the cosmic synchronicity of sex on the reef’ in the Frank Gehry-designed New World Center on Miami Beach. The success of this performance ultimately led to this studio recording of Tangerine Reef and a subsequent performance at David Lynch’s Festival of Disruption earlier this spring at Brooklyn Steel in Brooklyn, NY.”
Pivotal Manchester grime guy Fallow and his DJ Chalice alter ego go tête-à-tête on the 2nd release for Chow Down, the key club night that also includes Finn and Anz on its resident roster
In Fallow mode he tends to the contemporary sound of Withington with wistful sino vocals and minor key melodies on the 8-bar shrapnel of ‘Blitz’, while ‘Northern Don’ is all bolshy hyper coloured drama, and ‘Operation Dark Fruit VIP’ is a fructose overload of bashy pressure.
As DJ Chalice he goes cheekier with the piping hot melodies and R&G bumps of ‘Rewind Me’, beside the helium vox and dembow swagger of ‘Artois Anthem’, and the shades-on dazzler, ‘Raise Ya Chalice’.
UKF’s torch carrier lights up two rudely classy swervers on Roska’s label, a prime home for UKF and bass mutations
‘Expensive’ is a taut, head-high workout squeezing UKF’s soca syncopation on a whistling niche bassline, dashed with proper UKF strings to recall his classic ‘Tribal Affair’.
On the other hand, the bouncing toms of ‘Medium Drink’ hearkens back to Champion’s seminal ‘Motherboard’ banger, but with a sharper, acidic twinge to the bassline, and a patina of tropical humidity to mek ‘em sweat.
‘Sogno Che Suona’ is Caterina Barbieri’s spellbindingly glacial 20 minute work for modular synth
Blending strong cues from renaissance chamber music and late ‘70s kosmiche into soemthgin comparable with emotional punishments from Coil or Autechre.
The breakout success of 2016’s ‘Puberty 2’ saw Mitski hailed as the new vanguard of indie rock, the one to save the genre from the white dudes who’ve historically dominated it.
"However, the often overlooked aspect of being a rising star is the sheer amount of work that goes into it. “I had been on the road for a long time, which is so isolating, and had to run my own business at the same time,” Mitski explains, “a lot of this record was me not having any feelings, being completely spent, but then trying to rally myself and wake up and get back to Mitski. I was feeling really nihilistic and trying to make pop songs.”
Secretly Canadian want their artists to be strong but they also expect them to be vulnerable. Rather than avoiding this dilemma, she addresses directly the power that comes from appearing impenetrable and loneliness that follows. “With a lot of the romantic infatuations I’ve had,” she says, “when I look back, I wonder, ‘Did I want them or did I want to be them? Did I love them or did I want to absorb whatever power they had?’ I decided I could just be my own cowboy figure that I so desire.” In ‘Be The Cowboy’, Mitski delves into the loneliness of being a symbol and the loneliness of being someone and how it can feel so much like being no one."
"For less compulsively prolific and relentlessly creative artists than Bonnie 'Prince' Billy it may be tempting to sit back and enjoy the handsome retrospective going on around him at this moment in time - a book: 'Will Oldham On Bonnie 'Prince' Billy', published by Faber & Faber; a number of his albums being reissued to much fanfare - but that is plainly not the Bonny way. Enter another new release, 'Now Here's My Plan', a collection consisting of new versions of Bonnie 'Prince' Billy classics recorded by Steve Albini. 'Now Here's My Plan' features members of the Wolfroy Goes To Town' band with whom Bonnie 'Prince' Billy currently tours and records."
Isle Of Jura Records / Temple Of Jura Records’ Kevin Griffiths a.k.a. Jura Soudnsystem rounds up a load of dub, downtempo, boogie and synth cuts for an ambient, balmy, lush and funky DJ pack.
Strewn with highlights such as Mix-O-Rap’s All Party People (Special Mix - Go - Go Style), Trevor Bastow’s saucy electro-boogie wiggler Integration, the digi-dubwise pressure of Seashore Dub by Astral Engineering, and a bittersweet synth vignette from Legowelt in Smackos mode.
“The first in a series of compilations by Jura Soundsystem, aka label head Kevin Griffiths, is a blend of Dub, Ambient, Downtempo, Boogie and Proto House with a focus on music never before released on Vinyl, sought after out of print titles and some special versions edited specifically for the album. The intention with this project was to delve deeper into the reissue pond and unearth some lesser known tracks and artists. Highlights include Smackos (AKA Legowelt) Ambient epic ‘We Can Watch Alf In The Hotel Room’, never before released on Vinyl, the Dub / Psych hybrid of Minus Group’s ‘Black Shadow’, Kash’s sought after ‘Percussion Sundance’ and special edits of Ken Dang and Tabou Combo. The end of the album includes some soothing Ambient tools.”
Tightly packed, up-for-it UKF and grime motions from Ozwald, for Manchester’s pivotal Chow Down club-turned-label
Taking the UK sound and flinging it back over the water, Ozwald returns a party-guaranteed batch of bangers between the hyper-tropical percussion and flash stabs of ‘Money Tree’, the speed garage wamp of ‘Grinding Tribe’, and the breathless UKF pressure of ‘Speaker Bugs’, whereas ‘Juju’ sidewinds off with sharper, moodier melodic developments and crafty brokebeat garage swang.
‘Itinerant Pattern’ is an immersive 30 minute study in elliptical, phasing, Reichian pattern recognition and kosmiche synth music realised by N. Chambers, a.k.a. the guy behind Digitalis’ apocryphal ‘Science Of The Sea’ LP