Unthank thaws down from a small cryogenic suspension and delivers it’s first 12”, RIYL Dream 2 Science, Autechre, Unit Moebius, μ-Ziq etc
"Tracks from the vault from DJ Guy (Other World Music/Cejero/All Caps) who’s been busy since 1992. All tracks designed to be played loud and with the dance in mind whilst taking in all sorts of melancholy, euphoria and pastoral, acid soundscapes."
Ambient house don Anthony Naples rolls his soul out in ‘Fog FM’, the NYC producer’s 2nd album proper following 2015’s ‘Body Pill’ and last year’s ‘Take Me With You’ mixtape.
While Naples own releases have been thin on the ground in recent years, he’s kept his hand in behind the scenes for the Proibito and Incienso labels, and clearly devoted good times to this lush 10 track set swimming between bubbling strains of deep, electroid, and dubbed-out house and techno.
Over the course of 61 minutes Naples trades in his most hypnagogic styles in a stealthily deliquescent manner that melts from the fuller bodied silhouette of ‘A.I.R.’ into deliciously illusive, psychedelic swing by the end of the album with ‘Aftermath FM’. What happens in between is a sweetly dazed dream sequence taking in the Shinichi Atobe-esque dub-house thizz of ‘Fog FM’ and pulsating, sexy techno on ‘Purple Iris’, along with desiccated but sublime ambient pockets in ‘Channel 2’ and ‘Channel 3’, as the album begin to gently wilt into its final state with the serotonin-infused bath of ‘I’ll Follow You’.
File in your summer 2019 folder for hazy good times.
Delroy Edwards deploys deep, classic House vibes for his second release for Funkineven’s Apron, 6 years on from his untitled first appearance.
This is Delroy at his best, embracing higher fidelities for the good of the dance. He starts off with the gentle, feelgood vibes of opener "Live and Let Live” and ends with the halfspeed robot jacker "How High is the Moon”, with the squashed drum mechanics of “Funny Styles” and the robust bassline machinations of 'Dubonnet' lifting off in between.
Deadly, classic vibes from one of the best in the game.
Following that killer Huerco S, Exael and uon hookup on the first release on D. Tiffany’s XPQ? label, Exael returns solo with a followup to the Collex LP on West Mineral with a deep, reverberating set of recordings from the echo chamber.
Recorded in Chicago, 2014-2016 by Naemi, Exael ventures into the more abstracted end of the electronic dub spehere with a set that starts with a kind of corrosive noise malfunction before heading into a deep and shadowy house vibe and mechanised electro, somewhere between Huerco S. and vintage Claro Intelecto.
Or as the label put it, “degraded and corrupted club tools for the adventurous DJ…”
Super rare and Italo cut from 1985, currently selling for triple figures on Discogs...
“Made in Switzerland for use in Italy”. Lowell’s charming Italo-ish oddity from 1985 gets a proper reissue, courtesy of Compassion Crew and MPR. B/w the dope instrumental and a runnin’ remix from Ruf Dug. Restored from vinyl and mastered by Thomas P Heckmann at Trope. Cut by Andreas Kauffelt at Schnittstelle. Full colour cover with artwork by Mel Keane."
Anonymous French trio J-Zbel finally unveil their debut 2LP, a sprawling set of splintered rave anthems from hyper-trance to gabba, liquid D&B, hardcore and acid breaks, all packaged up in delirium...
"Delving in iconoclastic themes and pop culture at its most sketchy and accidentally inspiring, the enigmatic Lyon-based trio enters the melee all horsepowers roaring and laser-guns blazing - delivering twelve cuts that span the broadest sonic spectrum as they fracture their way across changing sonic reliefs, from trancey adrenaline rushes to 303-driven dance epics, through hyperfuturistic hardcore turns and further knee-buckling, breaksy manoeuvres.
Fruit of their trademark hybrid live and studio approach, some of the album's tracks were originally and exclusively conceived for live use, whilst another part has been produced in the studio from start to finish. The Easternmost-sounding jacking tune and album highlight 'Sebulba' feat. (faux-)Bristolian from a different mother Simo Cell was actually recorded last year during the latter's residency at Trempolino, in Nantes.
Layered with a richly hued palette of elements, J-ZBEL’s debut long-player melds choice samples of video-game soundtracks (check the Metal Gear alert noise and Mortal Kombat samples on 'Bertrand Au Mont D'Or' and 'Mortel Kombat'), playful polyrhythmic touches ('Le Riddim du Bardouin'), no-nonsense Goa trance inspiration ('Tunnel Vision'), but also liquid DnB and organically-grown junglisms ('Pardon Mouloud', 'Excremangue', 'Diablo Verde Part II') and - to top it all off in the most spectacular manner - the stadium-sized gabber madness of 'The J-ZBEL Anthem', sure to leave wisps of vapour in its wake."
Deliciously stoned and woozy instrumental funk with a winking Stereolab sensibility, from Toronto’s Badge Époque Ensemble - involving members of U.S. Girls, Blood Ceremony, The Cosmic Range, and Marker Starling, although you could swear they all hail from the ‘70s
“Flute, congas, bass, drums, guitar and clavinet; this unconventional arrangement of instruments intertwine to form the debut album by Badge Époque Ensemble - a group of creative improvisers assembled to perform new, largely instrumental compositions by Maximilian ‘Twig’ Turnbull (formerly Slim Twig).
Badge employs an eclectic cast of characters from the Toronto underground music scene, whose combined experience would take pages to spell out. It includes stints accompanying songwriters Andy Shauf and Marker Starling, outfitting heavies Blood Ceremony and Biblical, and respective careers spent gigging Django-jazz and the classical cannon. Badge’s distinctive sound arises from the diversity of these musical exploits, creating a palpable chemistry well captured on the live-tracked songs that form the group’s self-titled debut.
The record is a collection of densely packed grooves, arranged by committee. Dank set pieces culminate in album standout, ‘Undressed In Solitude’, which features the otherworldly r ’n b of guest vocalist, James Baley. Over 11 simmering minutes, the track defies the contemporary fixations of automated music to convincingly combine sensual and cerebral textures. While it may call to mind an improbable collision between psych-era Stevie Wonder and the whimsically dark, Fantastic Planet score, it is clear we are operating in a post Wu-Tang paradigm. The blocky beats and bit-crushed landscapes of the record at large make for tactile productions (courtesy of a collaboration among producers Steve Chahley, Tony Price and Twig) that can’t be comfortably ascribed to any one particular era of music making. If a crate of library, tropicalia, prog and electric jazz records were flattened into a single 12” and then fed into a sampler, we might approximate the process. Instrumental hip hop by reverse osmosis, a musical perspective where Madlib’s jazz excursions carry as much weight as his sample-laced productions.”
An impossible-to-find, ’95 Memphis rap tape surfaces on vinyl for 1st time via Gyptology, a new "Egyptian Archaology" styled re-issue label
Leading on from Shawty Pimp’s ‘Comin’ Real Wit It’  - which was dished up by Delroy Edwards’ L.A. Club Resource and sold out within days back in 2014 - its sequel, ‘Still Comin Real’ reprises that woozy slow drawl on 11 slurps of syrupy goodness.
As to be expected, noise artefacts carry over from the original, short-run tape edition, but it wouldn’t be a proper, OG Memphis rap session without that haze of tape grit. Safe to say that Gyptology know this, too, and see vinyl as the most faithful, sympathetic form of preservation.
Thus, you can trust the sound is raw as; a distinct adjunct to the prevailing NYC and LA hip hop styles of 1995’s golden era, working with rude, stripped down production values and vibes that have significantly withstood the test of time, and since laid the roots for a lot of contemporary southern rap, hip hop and R&B.
Enter a world of post-IDM, ambient and reggaeton, with a progression of deep synths, reverb, and percussion whose rhythms are born from the southern hemisphere. This is the world of DJ Python, a.k.a. New York based producer Brian Piñeyro, who also sometimes goes by Dj Wey, Deejay Xanax, and Luis. Making his Dekmantel debut with an extended EP of contemporary electronica, fashioned in his cult unique style, Python brings his deep-reggaeton style to the Dutch imprint.
"With his first LP Dulce Compañia released in 2017, Python extended his cult status in the electronic music sphere with motives of ambient, and tropicale, all the time keeping his music deeply rooted in classic underground dance music. Along with a Breaking Through feature on Resident Advisor, an almost legendary appearance on Boiler Room — in which he ignited the room in Santiago with bellowing reverbs —, extensive touring, and a residency at New York’s Nowadays (healthy programmed by the team behind Mister Saturday Night), Python has dutifully snaked his way in today’s cult artist category. Making his next step with this six-tracker on Dekmantel, Python aggrandises his prestigious drum sequencing, merging the world’s of drone-driven electronica, cerebral synths, and steely out-of-this-dimension-dancehall.
The EP’s pening track 'Lampara' snakes and twists, like a rugged 90s London broken-beat, electronic exploration, evoking nostalgic feelings a la Boards of Canada. The retro aesthetic flows through with second track 'Tímbrame', where the tropical reggaeton percussion floats through wafty, deep synth melodies and chimes, like a vibey, emotive, come-down, get-down, post-party dancefloor filler. 'Cuando' steps up a gear, as the digital percussive rhythms go into overdrive, while 'Espero' goes all Gaussian, by offering a transportive, meditative expression. 'Be Si To' pulses into full Phython territory, chops-and-cuts-and-slices across a sleuth of Warping, proto-drones. The record’s final track 'pq cq' is a singular question mark about darkness, feeling, and trans-dimensional thinking, as the track shifts in-between kicks that feel one and the same between past, present, and the dub."
A joint release between Natural Sciences and FTP...
"Texas Terrotech volume 1 is a combination of hyper-frentic futurism with the gritty global sound of the streets, wherever it comes from. It's the pop music on the radio, combining that with innately adaptable, yet eminently absorbable form which evolved in these different little things, all compatible , yet closely related. When they are decoded from the genome of our global musical collective, their inter-relatedness becomes even more clear, and a new perspective can be gained.
The internet made everything smaller. It turned the territory into the map, destroying the physical borders between geography and genres, reducing it into digital code, breaking it into bite-sized bits. This is the sound of the phuture digesting the people.
This is the sound of the global underground"
Suzanne Ciani sets text by Baudelaire to wondrous Buchla synth tones in 1969’s ‘Flowers of Evil.’ Better yet are her three studies in shatterproof rhythms and spooky abstract electronics, ‘Glass Houses’ and ‘Token Spokes’. All newly excavated and issued by Finders Keepers
“As a genuine vanguard of electronic music composition at the forefront of the modular synthesiser revolution in the late 1960s, Suzanne Ciani’s forward-thinking approach to new music would rarely look to the past for inspiration, which makes this unheard composition from 1969 a rare exception to the collective futurist vision of Ciani and synthesiser designer Don Buchla. In choosing to adapt the controversial prose of French poet Charles Baudelaire, Suzanne would join the ranks of ongoing generations of pioneering musicians like Olivier Messiaen, Karlheinz Stockhausen, Serge Gainsbourg, Etron Fou Leloublan, Celtic Frost and Marc Almond (not forgetting Star Trek’s William Shatner!), all equally inspired by the 19th century writer’s works of “modernité” (modernity), a self-coined term dedicated to capturing the eeting, ephemeral experience of life in an urban metropolis, best exempli ed in his symbolic, erotic and macabre ode to Parisian industrialisation, Les Fleurs du mal (Flowers Of Evil).
In her varied career that would combine art gallery installations, major lm soundtrackings and commissions for Atari, Suzanne Ciani’s earliest experiments remain some of her most challenging, beguiling and timeless... Flowers Of Evil ticks all the above boxes and icks switches that would power-up a new uncharted universe of her own musical modernité. For the many enthusiasts that have already drawn the parallels between Baudelaire’s writings and experimental/ electronic music (a relationship rivalled only by the likes of J. G. Ballard and Aldous Huxley) some might instantly recognise an unconscious sistership between this recording and another 1969 electronic adaptation of Flowers Of Evil by celebrated female electronic composer Ruth White. An interesting distinction of White’s excellent version of Flowers Of Evil (released via Limelight records, home to the likes of Fifty Foot Hose and Paul Bley) is that its dark tone generation and vocal manipulation was created with a Moog synthesiser, the commercially triumphant rival to Suzanne and Don’s Buchla Systems (Buchla and Moog’s historic, simultaneous, neck-and-neck synth developments are well documented.)
The fact that Ciani’s version was never intended for commercial release (not unlike her 1975 Buchla concerts, which could easily have taken Morton Subotnick’s Bull by the horns!) is also poetically re ective of the nature of Ciani and Buchla’s alternative perspective. The choice to present this extract from Flowers Of Evil in its intended French language further distances Ciani’s faithful reaction from some of its better-known variations. Having attempted to voice the poem herself, the multilingual Italian-American composer’s French accent did not meet her own standards, resulting in the request for a fellow unnamed French student who lived on campus at Mills College in Oakland to accurately verbalise the section of Baudelaire’s collection entitled Élévation.”
Stunning reissue of this long lost piece of post punk / industrial history from Spain originally released in 1983 in an edition of 300 copies and now reissued for the first time after changing hands for $$$ over the last few years. Heavy support from Ossia, Ron Morelli & Demdike Stare, highly recommended to anyone on that noisy/wave tip.
T was the brainchild of Caballero T, a key figure in Spain’s underground/industrial scene, enlisting the the studio wizardry of Señor Nada and the vocals of Tres, whose psychotic vocals imbue proceedings with a demented, post-punk asymmetry. Although spread through 14 individual tracks, 'Dark Fields’ was recorded in one continuous session in 1982 and unfurls from tripped out synth motifs to full-on industrial attacks and skewed wavy numbers that recall everything from Brian Eno’s early solo output to Joy Division, Suicide and into more abstracted, noisy territory and drum machine experiments somewhere in the region of Muslimgauze’s early work as E.g Oblique Graph and John Bender’s material from the same period.
T disbanded soon after 'Dark Fields' was recorded, leaving this LP as the sole document of their work. Reissued by Equilibrio, the same label that gave us that brilliant Randomize album '¿Cómo Se Divertirán Los Insectos?’, it’s an intriguing look at the Spanish underground scene that’s still a bit of a blindspot for us, and is a unique artefact from an era that has already been completely over-mined, but which still, occasionally, throws out pearls like this one.
Reissue of rare UK ambient techno from ’93-‘94 - unearthing some of the finest ambient techno from the Artificial Intelligence era with essential cuts from the back catalog of J. M. Adkins’ and including 2 tracks available on vinyl for the first time.
"Aside from Descent, a previously unreleased track, the material was previously released on the short-lived Metatone Recordings which was founded by Adkins himself together with Damon D’Cruz known from his preceding Jack Trax label. Today the original releases are sought after rarities which demand high prices on the 2nd hand market.
Compiled from the original DAT tapes and remastered by Andreas “Lupo” Lubich at Calyx Mastering, “Electro Music Union, Sinoesin & Xonox Works 1993 - 1994” reintroduces Adkin’s work as some of the era-defining classics from the early years of techno. A must-have reissue for the fans of early B12, AFX, The Black Dog, Kirk Degiorgio, et al."
Komodo Kolektif return with the follow-up to their 2017 EP “Sumantras”.
"With “Sundada” we see the group delve even deeper into hypnotic territory with an even stronger focus on their Indonesian gamelan instruments, wall-shaking basslines and trance-inducing percussion. A dual focus on tribal primitivism in parallel with a futuristic vision of the possibilities provided by their vast arsenal of electronic gear and processors, the overall outcome has produced something beyond 'world music' that is positively ritualistic.
Again aided by veteran Seattle-born multi-instrumentalist Jon Keliehor (James Brown, The Doors, Peter Murphy/Bauhaus, The Daily Flash, Emotional Response, Optimo Music) on suling (Indonesian flute) and percussion, Komodo Kolektif seem to have explored even more meditative and profoundly esoteric avenues than they did with “Sumantras”.
Much of the material is a refinement and distillation of what has been featured in their live shows for almost a year and a half and which has been met with rapturous applause at the likes of Convenanza festival in France to Sonic Cathedral & Ulrich Schnauss' Ambience Chasers in London.
Other pieces are the result of improvisations; experimenting with the Indonesian sarons, gendèrs and kempul at their disposal (courtesy of Gamelan Naga Mas of which two of the group are long term members) to create new patterns that resonate to both eastern and western ears.
Komodo Kolektif have received praise and plays from Hardy Fox (The Residents), JD Twitch (Optimo), Andrew Weatherall, Peter Power (Multi Culti / Voodoohop) and many more."
Fabio Orsi really takes flight with the pulsating, iridescent harmonics of ‘Sterminato Piano’ following his more grounded, brooding OP collaboration with Brian Pyle for Entr’acte.
Returning to the embrace of his mate’s Backwards label (run by same guy who managed A Silent Space circa Orsi’s ‘Osci’ LP), the formerly Berlin-based Italian artist follows his nose down two extended sides of saucer-eyed arps imperceptibly layered with field recordings and distinctively suffused with the sort of tempered, cosmic feels that Orsi has come to specialise in.
“The new work "Sterminato Piano" settles among the best things of Fabio Orsi, but also in some ways, among the most unexpected and original. After eight years in Berlin, his return to Puglia (south of Italy) is restoring new life and new creativity and new energy. In fact, the new album is full of energy and warmth, with patterns, sequences and dancefloor beats of our dreams.”
RIYL Konrad Sprenger, My Cat Is An Alien, Conrad Schnitzler
Serenely arriving in SFV acid’s slipstream for Ekster, ‘Immute’ sees Chinatown, NYC’s Georgia at their most spacious, calming and meditative following their recent, mind-bending ‘Time’ LP It's among the subtlest examples of the duo’s fusion of tech and tradition, stripping right back to precisely melodic percussion, woodwind, vocals and electronics in six sparingly minimal and spacious arrangements.
The first half is concerned with exquisitely tender and melodic motifs in a 4th World Japanese style, pull of gently pitch bent tones, rippling flute and glowing percussive harmonies that arrive at lovely junctures of jazz-fusion and Japanese minimalism in ‘Teccmonc’ and endlessly reverberant choral composition in ‘Bendires Trasher’. However, the 2nd half gradually grows denser with the transition from spiritual jazz gestures to rushing tribal tresillo rhythms n ‘Endocrync (Museo De La Revolution)’, and that percussive itch spills out in more unpredictable, almost theatrical/operatic ways in ‘High Light’, to resolve in the refined ambient inceptions of ‘Aoesdawas’.
Into The Light take a 2nd swan dive into Dimitris Petsetakis’ divine archive and come up with a further 8 pearls of new age ambient wisdom and cinematic synth music recorded between 1980s and early ’90s, but unreleased until now. RIYL Vangelis!
“Buoyed by the success of Endless, their 2015 primer on forgotten electronic explorer Dimitris Petsetakis, Into The Light Records has worked with the Greek composer to compile a follow-up album that takes an even deeper dive into his archive of previously unreleased material. Like its predecessor, On Shores draws on music recorded in the 1980s and early ‘90s. It contains just two previous released tracks, the humid “Clearance (Part 2)” and poignant “On Endless Shores”, both of which first featured on Petsetakis’s cult 1991 album Missing Links.
On Shores offers another unparalleled insight into the picturesque and atmospheric soundscapes created in the Piraeus-based composer’s basement studio using a mixture of electronic and acoustic instruments, a wide range of global influences and a keen interest in both minimalism and new age ambience. Listeners will encounter a range of stunningly beautiful and beguiling compositions, from the creepy, slow-burn exoticism of “Pythia’s Dance” and rhythmic, otherworldly escapism of “Violated Asylum”, to the gentle bliss of “Like a Knife” and sun-bright joy of “Nearxi (Minimal Marimba Edit)”.”
Sissel Wincent, Cera Khin, OnScreenActor, Perc, and Perko remix a raving standout from Peder Mannerfelt’s ‘Daily Routine’ album
First out of the traps is Sissel herself, filling the pensive space around her stentorian vocal with an awkward, clenched funk of primitive bass hits and salty electronics, before some unknown entity named OnScreenActor runs it thru with pelting 140bpm kicks.
Berlin’s Cera Khin subsequently chops the parts into killer, blocky, early hardcore/gabber in her banging, Belgian/Frankfurt-flavoured ‘Mind Destruction Remix’, while Perc tweaks in 4/4 variants, and Perko takes it the opposite direction entirely into weightless ambient space.
Free-range punk and snotty wave gear from a gaggle of western Europe-hailing artists, variously treading between decelerated cyber-punk and hot-stepping electro
“Hailing from different places in western Europe, Luc Bersier, Low Bat, Leonard Prochazka and Ariel Garcia created this vibrant EP. Their synergy tells a story of creativity, freedom in sound and, above all, playfulness. Serious music while similarly not being to earnest.
Their venture evolved into a very original blend of cosmic music, utilizing instruments that fit into the neofolk Krautrock domain, vocal experiments into French chanson territory, infused in Berlinian cosmopolitanism. Expect an exciting minimal wave synth punk orgy, punk definitely being the defining trait underneath these layers of sound.
This is boundless music with attitude, capable of making us drift off and disrupt us in equal measure.”
Dank acid and grey area pressure from tireless man-machine ASC
Check ‘The Siren’ for a prime piece of weightless acid guile no a millions miles from styles on Logos’ ‘Imperial Flood’, and hear the acid flood out into murky techno rolige with ‘Currents’, while ‘Pyrrhic’ churns up slower halfstep ground under noxious black/blue skies.
Morning Trip rescue Brent Snyder’s gossamer fine ambient meditation ‘Cumulus’ from ferric obscurity with a newly remastered vinyl pressing following their lush Laraaji & Lyghte side
The epitome of an intimate ambient private pressing, ‘Cumulus’ was recorded in a Toronto apartment in 1984 and self-released in a hand-assembled tape run in 1985. Recording with a Fender Stratocaster, a harmoniser pedal, and a four-track tape recorder, the results are clearly in thrall to Fripp & Eno’s guitar loop ambience, but stand on their own as a beautifully serene hour of music that lends itself to meditation or sound-bathing.
Melody As Truth’s Jonny Nash and Suzanne Kraft make time feel precious, sublime yet impending with the slow urgency of their 2nd outing as MATstudio.
Aside from the pair’s more polished productions, both solo and in collaboration, their MATstudio output reveals more steeply psychedelic and abstract space between the notes of Nash & Kraft’s respective, mutually admiring styles. Across the two pieces it feels as though we’re hovering somewhere in the studio during the session, or even pulled into the slipstream of their FX contrails and gently toyed with, like a cat with a piece of fluff in weightless space.
“MATstudio was born out of the working processes of our Amsterdam studio. Many hours are spent here experimenting with new methods, tools and ideas. This process allows us to continue developing our interests in merging multiple production techniques to create a personal language.
MATstudio works are collages of improvisations, experiments and accidents. Many of the fragments are the results of filtering our ideas through new production techniques and tools. Some feature friends and collaborators. MATstudio works are an ode to the infinite possibilities that result in keeping a curious mind and a desire to learn.”
One to watch, Amsterdam’s upsammy jumps back on Die Orakel with four writhing examples of her mutant electro style
The whirring mechanics and dreamy pads of ’A Walk In Twilight’ easily ranks among the most original new electro workouts we’ve heard from the recent wave; ‘Bronze Goddess’ feels outs a quasi-speed, subaquatic electro zones; ‘’Shaky Limbs’ slides into space between early Laurel Halo and Batu; and ‘Branches On Ice’ pushes the meter up to get freaky with acidic Dolphin squeals and splashy electro-techno hydraulics in a distinctive style upsammy can safely call her own.
Clay Rendering return with up a majestically gothic trip to the west with 2nd LP ‘California Black Vows’ channelling ‘90s grunge, shoegaze and stoner rock in their unique style...
"California Black Vows' chronicles the groups’ move away from the comfort zone straight into the dark heart of the west. Since their last album, the band relocated from the suburbs of the Midwest to the sinister shine of Los Angeles. The cover’s icicle is the last remnant of their time in familiar surroundings. More change was to follow. A duo for most of its existence, Clay Rendering’s core of Mike and Tara Connelly chose to invite two allies into their closed circle. The enlisted are Sera Timms of Black Mare on bass and Joe Potts of Sollilja on drums.
“California Black Vows” is the follow up to 2015’s “Snowthorn,” also on Hospital Productions. The warning bell sounded with their inclusion on Vatican Shadow’s Berghain mix, released this past March. A couple of EPs surfaced since the the last full length, but the band has spent most of that time molding the new 4 piece incarnation from the ground up and discovering the sounds and directions that new blood brings, while also acclimating to their new surreal setting. The result is a dimly lit journey into the wild nightside, where nothing is for sure. Where everything is tantalizing. Where Peg Entwistle appears thru a distant haze. Where the small hours creep by, never to return. Masks are off. A hypnotic trek into the center of Clay Rendering’s unique brand of gloom rock commences.
The album reveals itself slowly for the first minutes of “Blood Into Wine”, until the refrain opens wide and dives headlong into the deep. It’s a statement of intent. Whatever happens after this, we are in it together. From there, things rev up with uncertainty and a nervous edge. “Another Roll of the Iron Dice”...whose number is up? Tara takes on more vocals than previous records, haunting the nocturnal ocean with “Once in the Well,” “Black Vows” and “Take Hold.” Strangers come and go and dance and die in “We Wait.” Questions remain unanswered in “Don’t Understand You.”
With Dylan Neal (Thief) on production duties, Clay Rendering have delivered their fullest and most fleshed out album to date. The immediacy of the recording gives the feel that these songs are taking shape as you hear them. Guitars melt over the keyboards and synths throughout the proceedings. The record is filled with a noir life force that transitions back and forth from desperate wails to moonlit hymns. The vocals are clearer and more direct than ever, letting you know exactly where Clay Rendering stand. The bass provides the heartbeat of the mission. The drums ensure everything lands in its place. Insomnia, frantic flailing, body language, staring into the forced and artificial landscape, finding solace among the chaotic foliage...all these things play a role. The comfort has been shed. Foreboding stars in the western lands bring out the strangest parts in us all. “California Black Vows” is the howling cry to let those parts show their teeth and the soothing voice to let you know it will all be over in the morning.”
Seth Troxler & Phil Moffa’s sci-fi storytelling project fully spreads its wings on the full LP canvas of ‘Lost Souls of Saturn’, their debut album for R&S following a string of 12”s since 2017
“R&S present the eponymous, debut, full length album transmission from Lost Souls Of Saturn. Epic in scope, time and space, this multidimensional mind trip is for fans of Mark Leckey’s ‘Fiorucci Made Me Hardcore’, David Morales’ Red Zone dubs, Don Cherry’s ‘Organic Music Society’, The Orb’s ‘Ultraworld’ and KLF’s ‘Space’ and much more besides.
This ambient house masterpiece combines flavours gathered from across the galaxy, stewing them up into a delicious primordial soup. Old sci-fi soundtracks, acid, free jazz, avant garde, musique concrete, world music and more all whirl around an underground-dance-music axis.”
Air Max ’97 diversifies his bonds in collaboration with LOFT and TSVI on two tracks in the follow-up to his ‘Nacre’ album
Gwan dolo, the Aussie producer dives headlong into the sticky wormhole of ‘Turgor’ with its wild jazzy drum shrapnel and hyper-cubist bass shifts, while ‘Falling Not Walking’ reprises that jazziness within a sorta warped dubstep framework.
However, the best dancefloor tackle is in the collaborations. On ‘Paroxysm’ he teams with TSVI for a taut, swaggering spin on neuro D&B tropes, then on a reticulated, hyper jungle flex in tandem with LOFT on the fractious zinger ‘Xhrinicibles’ in a way recalling the needle-point programming of Rockwell’s ‘Reverse Engineering’.
Precision tooled melodic IDM/electronica from Ochre with a reissue of a Toytronic LP from 2004.
"The third release is from Christopher Scott Leary, who over the last two decades has produced a plethora of material under his pseudonym, Ochre. 2019 marks 15 years since the original release of “A Midsummer Nice Dream” in 2004; on British label Toytronic, which pushed Leary to the forefront of the experimental electronic music sphere. To celebrate the release’s fifteenth anniversary, Lapsus Records will reissue a special collector’s edition of this IDM classic in the form of a double tri-colour vinyl release, remastered by John McCaig (panicStudios). It will also include a full-colour print of the new artwork, redesigned by Portland (Oregon) illustrator Nathaniel Reeves, who has worked alongside Ochre for over ten years.
This special deluxe reissue entitled “A Midsummer Nice Dream (15th Anniversary Edition)”, features unreleased material from the same period and includes three bonus tracks on its vinyl version, six on its digital version, making it a truly unique release. It therefore offers a golden opportunity to rediscover an album that navigates through several genre domains such as ambient, IDM and experimental electronica in its purest form, stylistically reminiscent of the likes of Autechre, conveying a sound considerably ahead of its time. In its entirety “A Midsummer Nice Dream” is undoubtedly one of the most remarkable electronica glitch albums to be released in the 2000s, when the genre experienced its zenith, largely thanks to the advent of significant breakthroughs in digital production tools.”