Classy debut album of horizon-scanning but intimate chamber compositions by Elori Saxl, seamlessly weaving a range of classical orchestration with field recordings and electronics
‘The Blue of Distance’ sees Elori draw listeners between the Adirondack Mountains in summer, and the middle of Lake Superior at the depths of winter, for a cinematic album that expresses a palpable sense of nostalgia and hope. Its title is inspired by Rebecca Solnit’s observation that faraway mountains appear blue due to light particles getting lost over distance, as outlined in ‘A Field Guide to Getting Lost’, and Elori uses that phenomena as metaphor for the music’s curious sense of physical detachment/immersion and elusive familiarity, meshing recordings of a 6 piece ensemble (Violin, Viola, Cello, Clarinet, Flue, Oboe, Bassoon) made in summer, with their re-sampled images, re-recorded thru the foot of ice beneath her on Lake Superior, to create an absorbing blur between place and space, and between physical gesture and artificial resonance. A quiet-minded one for fans of Ian William Craig, Kaitlyn Aurelia Smith, or the evocative, descriptive powers of Goldmund.
New album from Mali’s Nahawa Doumbia, via Awesome Tapes From Africa.
"The meaning of “Kanawa” is so simple. We see our children trying to cross the ocean all the time. I said that many of our children die in the ocean and some of them while crossing the Sahara. Some climb over the wires across the borders and they have gotten shot. We have asked them not to leave and instead stay home. But I ask them why do they leave their country? Why do they decide to go? They said that they leave because of the family situation or problems, poverty, and unemployment. We told them if ever they are to leave, they should privilege legal ways.
They should abide by laws vigorously when they are to emigrate. That’s better than hiding in boats or adopting other illegal means. I ask them to stay and work in their country. So that we can help each other find a solution to this problem. I call on the UN and African leaders so that we can coordinate our efforts to find a solution, to create jobs for them so that young people stop leaving. This song is about that message and I chose it as the title of my album because I like it. My choice is because it is very meaningful and it is something we see on a daily basis. I chose it in order to alert and sensitize everybody about this question of illegal immigration. To sensitize our brothers and sisters. It is a message. That’s why I chose it as the title of my album so that everybody can learn from it and also so that there is a reduction in the number of people emigrating. To sensitize them so that some can stay home and grow the land. Leaving is not the only solution. That’s my message."
Utterly fab off-world lo-fi pop construxions assembled using DX7, TR-909 and early samplers from Italian minimalist Tiziano Popoli. Imagine Visible Cloaks rescoring "Liquid Sky" and ur there.
Freedom To Spend's latest rifles through the catalog of Italian minimalist composer Tiziano Popoli, unearthing a series of unreleased recordings for soundtracks, radio and installations made between 1983 and 1989 with a modest studio setup. Influenced by glittery radio pop music, Popoli used the Yamaha DX7 synthesizer along with the Roland TR-909 drum machine and some early sampling technology to belt out a series of surreal cues and themes that sound almost frozen in time.
The distinctive FM sound of the DX7 was relegated to bargain bins for too long after practically defining the mid 1980s and early 1990s, but it's received a well overdue resurgence in recent years. Now the familiar sound (smooth, shimmering pads, plasticky stabs and bumping distorted basses) is easily available inside or outside the box, and it's become ubiquitous once again - hearing it here though, struck through with possibility, is an all-too-rare treat. Popoli uses these sounds without cynicism or reference, crafting angular pop forms from a backdrop of funk, prog rock and disco.
'Minimal Dance N.1' sounds like a long-lost Goblin cue, with fractured synths following eerie piano loops. Elsewhere, album centerpiece 'Mimetico Erettile' develops over fifteen minutes, blending paper-thin pads with marimba sounds that buzz lovingly like Steve Reich in an isolation booth. Each track sounds as if it could rattle off the hinges at any moment and that's exactly what we love about it.
Fantastic music that sings loud from a place of innovation and discovery.
This is it, the anticipated collaboration between legends MF Doom and Madlib.
The vibe is spread across 22 separate skits/tracks each produced by one or both heavyweights. Opening the Villainy is 'The Illest Villains' a very Doom styled sample skit, lots of TV voiceovers and a storyline about Madvillain which is cut and spliced to perfection, recalling King Geedorah's 'Monster Zero'.
'Accordion' starts the fray proper, an accordion loop drops an almost laxadazical vibe over the beat, while MF styles over the top, namedropping Dastardly and Mutley and Joe Tex, before 'America's Most Blunted' deploys a psyche break with some genius samples lifted from what must be a goldmine Marijuana awareness record.
A collab between 2 of the finest people in hip hop, with some fly guests, a classic for the ages? 100%
New Amsterdam and Nonesuch Records release Tristan Perich’s Drift Multiply as part of the partnership between the two labels. Drift Multiply, Perich’s largest work to date, is performed by fifty violins and fifty loudspeakers and is conducted by Douglas Perkins.
"Scored as one hundred individual lines of music, the piece blends violins and speakers into a cascading tapestry of tone, harmony, and noise. The violins perform from sheet music, while the speakers are each connected to custom-built circuit boards programmed to output 1-bit audio, the most basic digital waveforms made of just ones and zeroes. “I am interested in the threshold between the abstract world of computation and the physical world around us”, Perich explains.
New York–based composer Tristan Perich’s work is inspired by the aesthetic simplicity of math, physics, and code. The Wire describes his compositions as ‘an austere meeting of electronic and organic’. 1-Bit Music, his 2004 release, was the first album ever released as a microchip, programmed to synthesize his electronic composition live.
As a composer, he has received commissions from Sō Percussion, the LA Philharmonic, Vicky Chow, and more, as well as an award of distinction from Ars Electronica for his work for violins and 1-bit electronics, Active Field. As a visual artist, his audio installations, video works and machine drawings have received commissions from the likes of Rhizome and L’Auditori in Barcelona, and his artwork has been exhibited internationally, including the Museum of Modern Art, VOLT Festival, the San Diego Museum, and bitforms gallery."
A colossal, trance-inducing, yet largely overlooked pillar of 20th century American minimalism.
Regarded as a "holy grail" by the likes of Keith Fullerton Whitman, it spans 100 minutes of atonal, amorphous string composition scored in four parts for a quintet, here performed by Linda Cummiskey (Violin), Malcolm Goldstein (Violin), Kathy Seplow (Violin), Stephen Reynolds (Viola), David Gibson (Violoncello).
By all accounts Harley Gaber was a colourful fella, a complex American artist, composer and filmmaker who dropped it all not long after release of this 1976 work to become a full time Tennis player and coach. He would return to the arts, and later music, writing soundtracks for his own films before sadly committing suicide in 2011.
'The Winds Rise in the North' is a frighteningly heavy and rewarding master-stroke, giving rise to dense, gripping harmonic overtones which prickle, seduce and get under the skin in a way that few others achieve. Lock the doors, turn off your phone and give yourself two hours with this. You won't regret it.
On this newly released work Jakob Ullmann combines his appreciation of Cageian principles with sacred composition in utterly riveting ways, resulting in two of the most extreme and uncompromising examples of his “quiet music” - that is, a music which is composed and realised to be played just above the volume of each listener’s ambient background.
And in case you’re not aware of what we mean by “extreme”, we’re talking seriously quiet - bordering on silent - instrumental gestures; the kind of creaks and klangs that, on the most glib level, recall a “ghost” in your house at midnight, while on a more serious, theological level, are intended to heighten the listener’s sense of the unknown, the metaphysical, the spiritual: the sacred.
In both works the ‘hallmarks’ of Jakob Ullmann’s intently defined yet unfathomably open style of composition come to light. On Müntzers stern, a pre-recorded performance of a hymnal text written by the German theologian is played back at barely perceptible volume into the same space where Dafne Vicente-Sandoval translates the graphic score for bassoon. The result is a totally sparse yet breathtakingly pensive piece where it’s beautifully uncertain what we’re hearing - is that the chance sound of a distant plane or Dafne’s bassoon? Are those voices in your head, outside the window, or on the recording? Either way, the barely-there but complex results are genuinely ambiguous, forming a total breakdown of conventions that leave the listener with far more questions than they answer.
On solo II, part of a group of works relating to the notion of disappearing musics completed in 1992 following Ullmann’s conversations with John Cage, the effect of Dafne’s bassoon, recorded in Kartäuserkirche (Bürgerliches Waisenhaus) is even more extreme. Holistically taking into account everything from the thermal fluctuation of the space and the way it affects Dafne’s reed, to its unique acoustic imprint, and by turns what lies outside its walls, the piece directly builds on Ullmann’s dialogue with Cage, and induces us into a sort of lucid dream state where time dissolves, outside becomes inside, and we feel physically sublimated into the piece and its projected timbral architecture.
As Ullmann’s music has come to light beyond the most rarified classical corridors over the last decade (with thanks to its champions such as Stephen O’Malley and Bill Kouligas, among others), the composer’s radical approach and uncompromising beliefs have given us some of the most memorable and perception-altering musical experiences imaginable. We can surely add these two new Ullmann works to that set of life-affirming and quietly challenging experiences.
Black Ark In Dub is another piece of Lee ‘Scratch’ Perry’s limitless musical puzzle.
"Featuring a bedrock of deep and heavy rhythms recorded at the Black Ark just before its demise, Black Ark In Dub features bass heavy spooky dub deconstructions of ‘Jah Love Is Sweeter’, ‘Ethiopia’, ‘Lion A De Winner’, ‘Open The Gate’, ‘Guideline,’ and ‘Mr Money Man’, along with an embellished dub version of Ras Keatus I ‘Dreadlocks I’ and the much sought after ‘Guidance’ a longime Jah Shaka killer exclusive to this set.
Originally released in 1981 the hard to find Black Ark In Dub remains a frozen sonic timepiece, captured at the beginning of the end of one era and poised at the start of another. This re-mastered release adds Lackley Castell ‘Jah Love Is Sweeter’ (vocal cut to the opening track ‘Jah’) plus Black Ark Vol. 2 the follow up album to the acclaimed Black Ark In Dub that unsurprisingly for an Upsetter release took a different path. More vocal oriented the album features extended dubwise cuts of Caol Cole’s ‘Ethiopia’, The Originals ‘Got To Be Irie’, Junior Byles ‘Mumbling & Grumbling and The Inamans ‘How Deep Is your Love’, along with an alternate take of the Silvertones roots classic ‘Give Thanks’ with flute overdub and a couple of solid do-overs from Third World man Bunny Rugs."
Italian ambient maestro Gigi Masin wins our hearts again with this sublime, impressionistic soundtrack to Il Silenzio Dei Tuoi Passi (The Silence of your Steps), Stefano Gentile’s photo book focussed on Venice at night.
Venezia is certain to strike a chord with anyone lucky enough to have visited the city, and even if you haven’t, it’s a beautifully evocative package, marrying Masin’s balmy drift of solo keys and chiffon synth pads with absorbing imagery of the city’s narrow ginnels and, all softly lit by lone street lamps that mirror the music’s plays of light and shadow.
Unfortunately our Italian is beyond mediocre, so we can’t really tell you much about the liner notes, but the symbiotic images and music convey far more than we could ever spell out here.
Finally, Music From Memory carry us back over the Atlantic to survey Brazilian flirtations with electronic and contemporary music c. 1984-1996, covering a spectrum of new wave pop, ambient balm, and experimental grooves. Killer set!!!
It’s maybe fair to say that, during the golden era for ambient and electronic dance music - roughly the period covered in this comp - Brazil’s contributions have been largely overlooked in the Western world. ‘Outro Tempo II: Electronic and Contemporary Music From Brazil, 1984-1996’ seeks to remedy this with a cherry-picked overview of this epoch that highlights spellbinding works by Mitar Subotić (aka Serbian producer Sub/Rex Ilusivii, tipped off by Vladimir Ivkovic) alongside stacks of uniquely humid, sensuous, feverishly psychedelic visions from artists you’ve likely never heard before.
Mitar Subotić is credited on three highlights, including a gem in ‘Velvet’ from his psychedelic samba-rock project Angel’s Breath, and Faust Fawcett serves standouts with his Lena Platonos-like ‘Império Dos Sentidos’ and the slunky bump of ‘Shopping De Voodoos’, but if it’s straight-up dancefloor heat and percussion that you’re (understandably) looking for, then it’s best to check out peaches such as May East’s woozy batacuda ‘Maraka’, the spaced-out, psychy slosh of Akira S, the lithe but smudged jazz-fusion shimmy of ‘Ilha Grande’ by Jorge Degas & Marcelo Salazar, and what sounds like one of James Ferraro’s ‘Far Side Virtual’ workouts, but with fruity, squawking vocals in ‘Guero-Guero’ by Tetê Espíndola.
Editions RZ collects historical recordings of Italy's forward looking and influential Gruppo di Improvvisazione Nuova Consonanza 1967-75, a collective featuring Egisto Macchi (percussion + celesta), Ennio Morricone (trumpet), Walter Branchi (bass), Franco Evangelisti (piano), John Heineman (trombone + cello), Roland Kayn (hammond organ + vibes + marimbaphon), Giovanni Piazza (horn), Frederic Rzewski (piano), and Jesus Villa Rojo (clarinet).
All skilled players and composers, the Gruppo di Improvvisazione Nuova Consonanza were formed in 1964 at the initiative of Franco Evangelisti with an aesthetic agenda looking beyond the boundaries of previous improvisational musics. They focussed on production and the qualities of sound itself, employing innovative recording and playing techniques at the limits of their capabilities as performers and composers in order to discover the "new consonance" inferred in their nomenclature.
These ten pieces spanning eight years are highly considered works of art, aware of the Neo-Dadaists attempts to disassemble the concept of a work of art, and instead attempting to expand its parameters as a transitory body of work in flux. We can hear traces of this work reflected in the more forward thinking Italian film soundtracks of the era and to a further extent, in Ennio Morricone's work for Hollywood, in turn casting an influence over much exploratory, non-academic contemporary music.
Cuba: Music and Revolution: Culture Clash in Havana: Experiments in Latin Music 1975-85 Vol. 1 is a new album compiled by Gilles Peterson and Stuart Baker (Soul Jazz Records) that explores the many new styles that emerged in Cuba in the 1970s as Jazz, Funk, Brazilian Tropicalia and even Disco mixed together with Latin and Salsa on the island as Cuban artists experimented with new musical forms created in the unique socialist state of Cuba.
"The album comes as a heavyweight triple vinyl and deluxe double CD, complete with extensive sleeve notes, and is jam-packed with heavy bass lines, synth and Wah-Wah guitar funk combined with the heavyweight percussion, powerful brass lines and the all-encompassing Latin rhythms of Cuban music known throughout the world.
The album is released to coincide with the massive new deluxe large format book Cuba: Music and Revolution: Original Cover Art of Cuban Music: Record Sleeve Designs of Revolutionary Cuba 1959-90, published in November, which is also compiled by Gilles Peterson and Stuart Baker (Soul Jazz Records), and which features the music and record designs of Cuba, made in the 30-year period following the Cuban Revolution.The music on this album features legendary Cuban groups such as Irakere, Los Van Van and Pablo Milanés as well as a host of lesser known artists such as the radical Grupo De Experimentación, Juan Pablo Torres and Algo Nuevo, Grupo Monumental and Orquesta Ritmo Oriental, groups whose names remain largely unknown outside of Cuba owing to the now 60-year old US trade embargo which remains in place today and which prevents trade with Cuba – and thus most Cuban records were only ever available in Cuba or in ex-Soviet Union states.
The music on this album reflects the most cutting-edge of Cuban groups that were recording in Cuba in the 1970s and 1980s – who were all searching for a new Cuban identity and new musical forms that reflected both the Afro-Cuban cultural heritage of a nation that gave birth to Latin music – and its new position as a socialist state. Most of the music featured on this album has never been heard outside of Cuba. Cuba: Music and Revolution is the third book that Gilles Peterson and Stuart Baker have collaborated on together and follows on from their two earlier critically acclaimed books, Freedom, Rhythm and Sound (Revolutionary Jazz Music in the 1960s and 1970s) and Bossa Nova and the Rise of Brazilian Music in the 1960s, both of which also had related album releases on Soul Jazz Records. Both Gilles Peterson and Stuart Baker have been involved in Cuban music for more than two decades – Gilles Peterson with his many Havana Cultura projects for his Brownswood label and Stuart Baker with a number of Soul Jazz Records albums recorded in Cuba. This Soul Jazz Records album is released in conjunction with Egrem, the Cuban state record company, and has been put together after the many crate-digging trips that both compilers have made on the streets of Havana and beyond in Cuba stretching over a 20-year period, searching out rare and elusive original Cuban vinyl records."
For new initiates and avant-garde fiends alike, this Xenakis collection renders a breathtaking survey of works by the radical composer, theorist, architect and engineer, spanning the period 1956-1974 and featuring some of the greatest works of the 20th century, including the awe-inspiring sonic architecture of ‘Persepolis’.
Inarguably one of the most important composers to blend electronic process and classical orchestration, Greek-French artist Iannis Xenakis made an indelible impression on the 20th century with his staggeringly complex feats of musical engineering. Regularly cited as an influence by composers ranging from Russell Haswell and Florian Hecker thru Autechre and Reinhold Friedl, Xenakis’s polymath pursuits in hybridising music, architecture and mathematics generated a bewildering array of sounds and structures which have rarely, if ever, been bettered in terms of their sheer scope, scale and technical ingenuity.
It’s possible to break down Xenakis’ approach to composition, and its results, as an extension of his experiences in armed combat, fighting for Greece’s left wing liberationists against the German army and later the British during WWII, with the latter leaving him blinded in one eye. He would eventually leave Greece in 1947 after graduating university with a degree in civil engineering, and before he could be conscripted into the Greek army, who didn’t look favourably on left wing sympathisers. Moving from Greece to Paris left him with a sense of guilt at betraying his friends, and a sense that “I had to do something important to regain the right to live. It wasn’t just a question of music - it was something much more significant.”
That significant something turned out to be a mind-blowing, multi-disciplinary oeuvre practically unprecedented in the history of music, architecture and art; a radical synthesis of ideas which embraced new technology and abstraction as a means to realise and create a new world in the aftermath of WWII. Like the Italian futurists before him, Xenakis would draw on the chaotic soundfield of war, and combined with a strong knowledge of experimental classical music and a special nous of maths, Xenakis’ subsequent studies with Olivier Messiaen and work with Parisian architect Le Corbusier would prompt him to composing groundbreaking new music during the 1950s.
This 2CD contains works from that era, stretching right back to the pranging clangour and jet-like eruptions of Achorripsis [1956-57], an early example of his stochastic style of composition, thru the dizzying, chronic dynamics of Syrmos , and to some of the earliest work composed by a computer, the 7090 IBM, in ST/48(St/48-1,240162).
But it’s Xenakis’ ’60s/‘70s work where his genius is mst evident, from the breathtaking scope of Polytope De Montréal  - written for four orchestras in the same space in the French Pavilion at Expo ’67 - to the gobsmacking dimensions of his seminal Persépolis , which was realised for the Shah of Iran, plus the frankly terrifying, computerised wormhole of Polytope De Cluny [1972-74].
We can’t reasonably describe this set as anything other than indispensable for fans of electronic music from its inception to the modern day.
The final performance by legendary electronic music catalyst Mika Vainio depicts the Pan Sonic co-founder at his blistering best only months before he passed away in 2017
‘Last Live’ is demonstrative of the singular way in which Vainio harnessed elemental electronics to his will. Recorded at Cave12, Geneva, on 02.02.17, the set is presented here post-edited by Stephen O’Malley and Carl Michael Von Hausswolff, at EMS, Stockholm, to unleash a definitive blast of raw electronic forces that speak unflinchingly to the unpredictable nature of his improvised noise. Quite simply, Vainio is unmatched in his field for this sort of work, and this session stands as testament to the inspirational conviction and devastating effect of his music.
While it may not be immediately apparent on first listen, Vainio’s music has long drawn influence from myriad, intense forms of music. Be it techno, delta blues, dub, black metal, or sheer isolationist minimalism, it was all there, collapsed into a black hole of sound that could be as bloody-minded as it was heart-rendingly sensitive, often in the space of one cut. ‘Last Live’ portrays these unapologetically human characteristics in Vainio’s typically frank yet oblique manner, with each section candidly expressing polarised extremes of sound, from the first part’s transition between jack-licking drones to skin-tearing distortion, while the 3rd and 4th capture him at his most rhythmically disaffected, strongly recalling the almighty, juddering forces of his ‘Kilo’ (2013) album.
’Trippin’ Musik’ is Nurse With Wound’s most significant new dose in a while, collecting 3 epic discs of steeply psychedelic sonics that may well alter your breathing and heart rates and mental state. No tracklisting provided, play however tf you like.
Following from the reissue of NWW’s ’Soliloquy For Lilith’ boxset, ‘Trippin’ Musik’ relays the most recent findings from Steven Stapleton and co’s ongoing psychedelic research / surrealist reconnaissance / occult practice in electro-acoustic and avant-garde spheres. As the title suggests, it’s one for the journey, taking up whole sides of vinyl with intensely and intently focussed recordings that often take over 20 minutes to say their psychedelic piece in a cryptic language of abstraction.
Whether you take drugs to listen to this music or not, the effect is likely to live up to the title, but we’re pretty certain it will be stronger with than without. One disc features a whole side of what sounds like a folk song fractalised and slowed down by Carl Stone, while another also sees them strung out in desert guitar scenes sort of like a digitized interpolation of Earth jamming with Soisong, and the side of rapidly panned gasps is practically guaranteed to send your head into a tailspin given the right conditions, before it all shores up in a deeply lysergic scene of strolling, head-squashing, liminal/laminal electronic timbres that feel like classic kosmische slowed down and exhaled by an AI.
Trust the efficacy of ’Trippin’ Musik’ for psychoactive potential is right up there with the most potent sonic substance. Approach with spare time and a well stocked freezer for best results.
Norwegian ambient maestro Geir Jenssen blurs Beethoven into a spectral haze on this disarming suite of eerie vignettes. Fans of Akira Rabelais' unmatched "Eisoptrophobia" need this one.
On Gier Jenssen's 2016 album "Departed Glories", the Norwegian veteran used barely-audible samples of Eatern European and Russian folk music to illustrate a narrative that explored the Medieval history of Poland. These ghostly audio snippets were processed through Akira Rabelais' surrealist DSP software Argeïphontes Lyre and then smudged into echoes of a distant world. On "Angel's Flight", Jenssen takes a similar stylistic route, but uses Beethoven’s String Quartet No. 14 as the source material, allowing familiar traces of the German composer's favorite late work to peek through frozen drones and haunted pads.
This music, whether you realize it or not, has been repeated thru our collective consciousness again and again since its completion in 1826, so hearing it stretched, filtered and crushed by Jenssen is a fitting way to reabsorb it. "Angel's Flight" sounds like time itself wrestling with musical hierarchies, as themes and tropes dance and heave through aural molasses, inspiring the memory to land on images of movies, ballrooms, music lessons or adverts. It's also strikingly sad and beautiful, and while it relies on elements we've been assured are sad - minor keys, spooky drones, distant strings - Jenssen handles the elements with a restraint that's way too rare.
Somehow, "Angel's Flight" never descends into the realm of forced melancholy - rather it seeps into your pores slowly and affects you gradually, urging you to play it once more. Sadbient? Maybe, but this sounds strangely timeless.
Featuring collaborations with Sufjan Stevens, Justin Vernon (Bon Iver), Yo La Tengo, Shara Nova, Mouse on Mars, Francis and the Lights and others...
"The music of CARM features horns in roles typically reserved for drums, guitars and voices, while also escaping the genre categorizations reserved for music featuring an instrumentalist as bandleader. It is not jazz or classical music, nor is it a soundtrack. This is contemporary popular music that features a sound normally used as a background colour and texture as the unabashed lead voice. According to CARM, aka CJ Camerieri, “It started with the question: ‘What kind of record would my trumpet-playing heroes from the past make today?’ I believe they would want to work with the best producers, beat makers, song-writers, and singers to create new, truly culturally relevant music, and that’s what I sought to do with this project.”
Produced in Minneapolis by Ryan Olson (Polica , Lizzo) and featuring collaborations with Sufjan Stevens, Justin Vernon (Bon Iver), Yo La Tengo, Shara Nova, Mouse on Mars, Francis and the Lights and many others. This is a completely unique sound that additionally serves as a survey of the collaborations that have come to define the artist’s career thus far. Says Justin Vernon, “I truly believe there isn’t a more accomplished brass player in the entire world of music. And this is way more than a ‘horn’ record. It’s a discovery of new heights with what is possible in creating music.” The album begins with an orchestral brass choir of French horns, which quickly gives way to a piano sample from Francis, as Stevens and Lupin combine voices over a lush bed of horns to sing ‘Song of Trouble’. The album bookends with the same piano sample used as a springboard to an iconic lyric by Vernon in the album closer ‘Land’. Between these two generation-defining artists we have upward sweeping melodies and fanfares reminiscent of Ennio Morricone.
The acutely original sound of Georgia Hubley and Ira Kaplan of Yo La Tengo in ‘Already Gone’ give way to the virtuoso sound of Nova’s voice. A more experimental path emerges before the strings from Music bring us back to the piano sample that started the record. Instead of recycling well-trodden sounds, CARM offers a respite for those seeking an original voice."
Jangling shards of guitar and puckish drums meet close vocal harmonies and punkish “hey!’s” in Palberta’s 3rd and latest jag with Brooklyn’s Wharf Cat Records
On ‘Palberta5000’ the trio of Anina Ivry-Block, Lily Konigsberg, and Nina Ryser elide the pop and punk aspects of their sound tighter than ever, resulting oodles of sing-a-long lyrics and nagging melodic riffs that will be trotting around your noggin for days, maybe weeks, to come after each play.
Quite notably, ‘Palberta5000’ was recorded in a studio located in the former home and family lamp-shop of Paul Reuben (aka none other than *that* mad egg, Pee Wee Herman) and it’s possible that his sense of U-cert mischief perfuses the album’s sense of exuberant youthfulness, which is practically spilling over from the likes of their dizzy harmonies in ‘Never To Go’, and the ‘90s indie-pop charms of ’Summer Sun’, or The Raincoats-like jangle and quicktrot of ‘Something In The Way.’
James Yorkston and The Second Hand Orchestra came to be after the blossoming of a long-term friendship between James Yorkston and Karl- Jonas Winqvist, the Swedish music producer, leader and conductor of The Second Hand Orchestra.
"That communal feeling is apparent across the entire album. Recorded and mixed in Sweden over the course of three days, with a selection of musicians Winqvist had brought together, including Peter Morén (Peter, Bjorn & John), Cecilia Österholm (one of Sweden’s best-known nyckelharpa players), Emma Nordenstam (piano & cello) and Ulrika Gyllenberg (violin). The studio approach with The Second Hand Orchestra was entirely improvised around Yorkston’s songs and the only song they heard in advance was ‘Ella Mary Leather’; Yorkston didn’t want to direct anyone too much but instead allowed for a welcoming, instinctive, free-spirited and joyful atmosphere. ‘The Wide, Wide River’ is a soothing, warm and sublime listen whilst also highlighting Yorkston’s skills for songwriting, collaboration and as a musical conductor. The record takes in past loves, advancing age and friends now gone, whilst also containing some of the most sanguine songs Yorkston has ever made."
For fans of Four Tet, The Chemical Brothers, Jamie xx, Bonobo, Caribou / Daphni, Aphex Twin.
"Belfast-born London-based duo Bicep (Matt McBriar and Andy Ferguson) release their hotly anticipated ten track second album ‘Isles’, via Ninja Tune. Two years in the making, ‘Isles’ expands on the artful energy of their 2018 debut ‘Bicep’, while digging deeper into the sounds, experiences and emotions that have influenced their lives and work, from early days in Belfast to their move to London a decade ago. Lead track ‘Apricots’ is steeped in a shimmering bath of warm synths, its spare percussion and arresting vocals bring big room chills while still evoking something lost or forlorn."
Oh my jeffing days, it finally happened! The Japanese edition of RZA’s seminal OST for ‘Ghost Dog’ finally lands to answer our prayers.
One of our most sought-after albums never to appear on vinyl (aside from a sneaky edition you could find at Hardwax if u were sharp-eared), RZA’s first soundtrack, for Jim Jarmusch’s mystic assassin thriller starring Forest Whittaker, has been top of our list since the day we walked out of the cinema after watching it in 1999 as a wide-eyed scrawny 16 y.o. That cinema has since been demolished, but our love for RZA’s score has never diminished, and we’ll happily sit with the looped-up 1 hour version of its ‘Ghost Dog Theme’ that was uploaded by some absolute G to YouTube on given day of the week.
With the benefit of hindsight, it’s not hard to hear the album as punctuating a whole epoch of music and culture, practically executing the final word on sample-driven, old skool beatcraft at a time when rap and hip hop were phase-shifting into the whole jiggy era of Timbaland and The Neptunes, and the old analog world of comic books and Kung Fu flicks on VHS were on the cusp of being consumed into the nostalgia industry - an idea perhaps neatly reflected in the film’s story about an assassin who prefers to follow ancient samurai codes of honour in an era of modern gangsters.
As many have discovered to their annoyance, it’s only this, the Japanese version, that carries the full soundtrack, where other versions were full of crap filler from Wu Tang affiliates. We’re talking some of RZA’s crispiest drum chops, soul stabs, and the most atmospheric work in his catalogue; 35 minutes of lethal neck snappers from the top shelf of ’90s hip hop, and we couldn’t be any more gassed to finally clutch a copy that will be coming to the grave with us.
(RZA voice) Raise your swwwords! Ultimate tip!
40th anniversary edition of NWW’s darkly beguiling 3rd album, seeing Steven Stapleton go solo in a slowly spirit-gnawing side of collapsed concrète jazz cut-ups that recall pre-echoes of Mica Levi and Demdike Stare at their most zonked
‘Merzbild Schwet’ documents Stapleton left to his own devices in the studio later in 1980 after bandmates Heman Pathak and John Fothergill left due to dissatisfaction with their collaborative efforts on ‘To The Quiet Men From A Tiny Girl’. The results, in their own way, are perhaps more detectably coherent, in the sense that this is the sound of one man’s mentalism, and not the combination of three who can’t decade who’s weirdest. As such, it’s a real warper, with one side seemingly nodding to a classic Neu! B-sides from behind lysergic eyes, and the other striking deep into a vein of theatric avant-garde.
Recycled from hacked and spliced jazz samples, the A-side’s ‘Dada x’ slops over the front with knackered drums and smeared brass tones that recall the B-side to ‘Neu! 2’ (itself crafted last minute in the studio, using slowed down samples of the same record’s A-side) as much as Micachu & The Shapes’ & London Sinfonietta’s ‘Chopped & Screwed’ session, with additional stirrings from a French pop record adding to the oddness in a way that also recalls Ghédalia Tazartès and that amazing Joseph Hammer side for PAN.
‘Futurismo’ is a very different beast though, stretching out 24mins of pineal, searching-in-the-dark atmospheres that feel like they strayed from an avant garde theatre work or modern classical conservatory, with pealing woodwind and arcing spectral keys paving the way for mind-bending corridors of patchworked sci-fi vocals, shatterproof industrial clangour, and Stapleton's patented plasmic electro-acoustic audness.
Another totally obscure diamond that we might never have found without Edition RZ’s prompting, and should be strongly recommended to fans of durational, minimal works by Stephen O’Malley, Eliane Radigue, or Jakob Ullmann.
Trauermusiken, or Music for Grief, offers two gravely intense compositions for strings written by contemporary Austrian composer and organist Klaus Lang.First released in 1995 by Lambeart, and reissued by Edition RZ in 2002 (this edition), it ranks among Lang’s earliest works and consists of one relatively short prelude followed by a quietly crushing 69 minute piece.
The five minutes of Der Wind und das Meer, Trauermusik für Bratsche solo (The Wind and the Sea, Music for Grief for Viola solo), performed by Barbara Konrad, foreshadow a glacially unfolding and technically demanding piece performed by the Amras Streichquartett.
In its slow, sustained and keening intensity we’re instantly reminded of Harley Gaber’s The Winds Rise In The North, which was also reissued via Edition RZ. However, Lang’s piece feels like the inverse of that record, trading teeth-chattering high-end for a solemn exploration of lower registers, operating at near-liminal levels of concentration and focus.
It’s yet another totally obscure diamond that we might never have found without Edition RZ’s prompt, and should be strongly recommended to fans of durational, minimal works by Stephen O’Malley, Eliane Radigue, or Jakob Ullmann.
40th anniversary edition of NWW’s second album dating back to 1980, wickedly complicating their enigma with a perplexing surrealist collage of psychedelic freeness and communal industrial jams
Available on LP for first time in 30 years, ‘To The Quiet Men From A Tiny Girl’ is still as strange and twisted an album as its title and that artwork would suggest. It marks the group near the start of their bent curve, with Steven Stapleton joined by early members Herman Pathak and John Fothergill, and French avant-garde legend Jac Berrocal on Conch, for a decimated trip into sub- or pre-conscious sound arrangements that get under the skin and unpredictably writhe with a raw, unsettling sensuality dislocated somewhere between snuff film ambience and post-industrial organism.
Leading down their overgrown garden path from 1979’s legendary ‘Chance Meeting On A Dissecting Table Of A Sewing Machine And An Umbrella’, the band’s follow-up could have conceivably moved in any direction after that unprecedented start, and it bloody well does; tripping balls in a way that juices, un-stitches, and messes with then pre-existing frameworks of free jazz, industrial music, and avant-garde experimentalist expression: or simply what would become known as NWW musick.
In tortuously durational side-long works they morph amp hum into licks of fiery psych guitar and cut-up concrète, initially forging a sort of lysergic caveman rock fronted by clangers, that descends into bestial howls, pockets of squealing guitar abstractions and what sounds like a a flock of jazzy geese. And that’s only the first side. The second is equally un/hinged, with cut-up voices pranging from the ether against backdrops of machine elves unscrewing a cavernous workshop at midnight, then gelling into the sickliest music box mælodies and back to avian jazz frolics from another dimension. The band were apparently unhappy with the results of this album, and it remains a fucking weird piece of experimental history.
Haunting chamber invocation by the Austrian organist, composer and academic; written for flute, voice, percussion and viola. The quietly minimal, single, 50-minute piece is intended for reflection and altered, heightened states of sonic perception. RIYL Jakob Ullmann.
“Through concentration on listening or concentration on what we are listening to we can enter a state of simplicity of mind which is a state of the highest inner clarity or inner silence. In other words:when concentrating on the flow of music we can reach an inner state: The inner silence which is the simultaneity of stasis and flow. This paradoxical situation poses the question: Is the flow of music passing us, is music flowing through us thus evoking this inner stasis or is it not a state at all what we experience: should we not most seriously take into consideration the possibility that it is us who are flowing through the sound?”
'Kompositionen 1950-1972' collects 16 compositions by Christian Wolff. Most of the pieces collected for this portrait of Christian Wolff document the composer’s early activity and were mainly recorded around the time of their composition. Each recording exemplifies the sound gestures from their time.
"Finally I realized that the kind of sound made in an indeterminate situation includes what could result in no other way; for example, the sound of a player making up his mind, or having to change it. In fact, the indeterminate notation I've used is, as far as I know, the only possible one for the kind of sound I should like. And don't forget, we also like to be surprised. ...and the rhythm produced by that situation is like no other rhythm."
Now of a 20 year vintage, NWW’s pair of haunted works with Czech violinist Petr Vastl aka Aranos resurface in a double pack of deeply spooked out material.
Aranos’ violin ranges from folksy see-saw to abstract extended tekkers in a pair of albums written and released four years apart but both bearing a very similar sort of etheric wanderlust that leads them from midnight darkness recalling Deathprod from roughly the same era in ‘Either Open Or Unsound’, to a stunning 24’ ambient etherfolk vista ‘Every Bower Builder Aims To Be A Polygamist’ on 1997’s ‘Acts of Senseless Beauty’, to take in industrial -cut-up rhythms, concrète haptics in ‘Marbles’, and smoked out death jazz in ‘Mary Jane’, and concluding in the snuff scene atmosphere of ‘Knife Knows His Doing’. With Aranos’ strings resembling a killer’s garrotte.
Sam Amidon considers his new self-titled album the fullest realization to date of his artistic vision.
"It comprises his radical reworkings of nine mostly traditional folk songs, performed with his band of longtime friends and collaborators. Amidon produced the record, applying the sonic universe of his 2017 The Following Mountain to these beloved tunes, many of which he first learned as a child. ‘Pretty Polly,’ for example, was one of the first traditional tunes he learned to play, and ‘Time Has Made A Change’ is a song that his parents – singers who were on the 1977 Nonesuch recording Rivers of Delight with the Word of Mouth Chorus – sang around the house when he was young."
The Bug darkens Hyperdub’s doorstep proper for first time since ’Skeng’ with a dead strong new album of mutant dancehall and dread trip hop voiced by Dis Fig.
Currently in fecund form after a series of superb solo albums, Zonal with JK Broadrick, and his modern classic with King Midas Sound, Kevin Martin aka The Bug now finds another ideal foil in Felicia Chen aka Dis Fig, who appears to leave her production hat aside in favour of intimately hushed, almost opiated vox that provide the perfectly possessed counterweight to the musick’s low frequencies and noctilucent timbres.
For the majority of the album Dis Fig is a central, if elusive, presence strongly channelling a certain sort of late ‘90s trip hop and pop ennui that can’t help but remind us the tone to classic Massive Attack, Depeche Mode or Sneaker Pimps from that era, while The Bug’s production subtly elides the aching poetic, liminal nocturnal space of KMS into his more typical dancehall-mowing rhythms with irresistible effect.
The 12 tracks play out like a hymn book for the deserted, haunted dance floors of 2020, tempering the subs and drums to a ghostly, just-outta-reach middle distance, rather than in-your-face, and leaving acres of room for Dis Fig’s vocals to haunt, variously radiating from the core into infinity as on ‘End In Blue’, or hidden in a psychedelic stereo haze of ‘Forever’, while the ohrwurming cadence of ‘Destroy Me’ will likely be echoing in your head for days, weeks after, and you can find K. Martin at his instrumental best on the nerve-gnawing grine of ‘Blood’.
Call us fanboys, but the whole album is just fucking outstanding, really. Bravo.
"Our lives are expendable under most governments, secondary under a system of monetary rule. We are stock if you like, parts on a shelf for the purposes of profit, discarded at any moment if fabricated or non-fabricated crisis threatens productivity. This is constant, obviously and notably in the current pandemic. The masses cannot be present in the minds of ill-fitting leaders, surely? Or else the realisation of their catastrophic management would cripple their minds. Much like the human body can still survive without a full set of ribs we are all 'spare ribs’, preservation for capitalism, through ignorance and remote rule, available for parts."
First ever international reissue of one of the most sought-after albums from the Black Fire catalogue, Lon Moshe & Southern Freedom Arkestra’s life-affirming ‘Love Is Where The Spirit Lies’ from 1977.
“Lon was creating his own path in his music life at this time,” remembers Black Fire’s Plunky Branch. “We had met in San Francisco and he had become an original member of JuJu during the early ‘70s. He then wanted to pursue his own music, primarily in jazz; he was an avant-gardist and loved Tribe, Strata-East and Sun Ra.” For his Love Is Where The Spirit Lies album, Moshe drew from musicians within the Black Fire stable. Oneness Of Juju’s Jackie Eka-Ete sang and helped to write songs and members of Southern Energy Ensemble contributed, including their bandleader Marvin Daniels. “The band name, Southern Freedom Arkestra, was a proud declaration that this music was from the U.S. South,” continues Branch.
“The civil rights movement had been led from there and the most serious racial animosities resided there. Lon had grown up in Southern Illinois, South of Chicago, and said that the racial oppression was as bad there as in the South. He wanted to fight back through his music and through his own actions. He found a way to bring energy and aggressive to the sweet sound of the vibes. He played with a lot of dynamism and speed. The most celebrated piece on this album, ‘Doin’ The Carvin For Thabo’, is a tribute to his mentor, the drummer Michael Carvin (also known by same as ‘Thabo’) who had played for Motown, with Freddie Hubbard and many more.
This first international reissue of the album features new sleeve notes including interviews and commentary by Lon Moshe, Plunky Branch and band members with original illustrated artwork by Mary E. Greer. Audio was remastered from original tapes by The Carvery.”
Gorgeous, sanguine ambient sound sculpture by Iranian composer Porya Hatami for iDEAL recordings, following blazing sides from The Gagmen, and Stephen O’Malley with Senyawa.
"35.256031, 47.013321, 27.081979" is an experimental sound art piece created by the Iranian composer Porya Hatami. Porya Hatami (b. 1981) is based in Sanandaj, Iran and he works with field recordings and puts these against electronic tones in different ways. He has released his music since 2012 and has released his works on a number of international labels and is collaborating with like minded artists."
Dust-to-Digital close a century wide circle on a real collector’s special, racking up all 84 x B-side songs to the ‘78s originally included in Harry Smith’s pivotal ‘Anthology of American Folk Music’
Smith’s original 1952 series and boxset of country, blues, Cajun, and gospel music from the ’20s-‘30s arrived as something of an anachronism in the ‘50s, but would serve to light the touch paper of interest for this olde timey music that helped spark the whole ‘50s and ‘60s folk revival. It has remained a major touchstone for many ever since, with a resplendent boxset in 2000 also helping to trigger another wave of interest in this sound that, again, arguably influenced another generation of indie-psyche-folk types at the start of this century - heck, it’s fair to say even Taylor Swift is referencing this stuff, via her work with The National’s Aaron Dessner on ‘Folklore’.
Now newly remastered, like their A-side counterparts, these B-sides have also been arranged with the same sequence as filmmaker and record collector Harry Smith’s original set. They span a whole world of merriment and woes from a 100 years ago, taking in multiple barndances and church’s worth of material ranging from Mississippi John Hurt’s lilting folk, the quick Cajun fire of ‘Back To Mexico’ by Carolina Tar Heels, and the likes of Hoyt Ming & His Pep Steppers’ stomping ‘Old Red (Country Dance)’ along with glorious gospel by the legendary Alabama Sacred Harp Singers, and heads down, hard-bitten blues by Blind Willie Johnson.
34-minute, 6-track mini album born out of and shaped by long hours working into the night.
"Some of London-based electronic songwriter Ryan Lee West’s most recognised work to date comes in the shape of spontaneous EP or so-called mini album releases— clocking in just under the 40-minute mark, keeping their contents urgent, immediate and to the point.
As with his 2013 EP Odyssey and 2014’s Sonne, which were later compiled to a full-length release titled Odyssey / Sonne in 2015, there is a similarly strong synergy between his 2016 mini album Night Melody and this year’s Articulation — made available on CD and digital formats under the title Night Melody / Articulation. It’s nocturnal in sound; mysterious in the way that the early hours so often are.
The opening statement Pattern Of The North starts off with a collage of spliced synth melodies, inspired by anxiety that accompanies going home for Christmas. It’s followed by Johannesburg, an early sketch gradually filled out during his tour in South Africa. The closing statement What Sorrow is a fitting end to the album, building from gentle melancholia to a joyous crescendo. It’s a sensibility that’s central to the record; joy and sorrow both find their counterpoints. July 31, 2020 saw the release of his highly anticipated new album Articulation with an equal running time of 34 minutes. Lead track and album centrepiece ‘Articulation’ links the record back to the analogue fluidity and colour of 2016’s Night Melody.
The division of varying time signatures, intertwined with a complex structure of notes, creates an expression of a moving structure and conjures a dreamy, motorik energy. Articulation was conceived with a very visual way of thinking, unusual for the London musician and producer. During the writing process Ryan drew structures, shapes and patterns by hand to try and find new ways of thinking about music, giving himself a way to problem-solve away from the computer. The album title references a piece by the avant-garde contemporary composer Györgi Ligeti, though not for its music, but for the non-traditional graphic score that accompanied it. The idea of using analogue drawings and tools to bolster digital creations can be heard in the structure of the pieces that make up Articulation from the broody techno opener ‘Vibrations on a String’ all the way to the album’s boundless closer ‘Sudden
Awareness of Now’. Rising out of birdsong heard from his studio window, it has a particular urgency about it and seems to perfectly capture a longing for escape. Built around a simple and repetitive melodic theme, expanding and retracting over the course of its seven-minute odyssey."
Raw deep house jams from Will Long (Celer), continuing a cherished series on his own label after a sterling run including DJ Sprinkles remixes on Comatonse
Adorned with Tsuji Aiko’s illustration of Stokely Carmichael, and samples of the civil rights activist inside, ‘Long Trax 3’ stretches out over an hour of blushing pads and stripped down rhythms in a style that’s ostensibly removed, but actually complementary, to Long’s more typical ambient work as Celer.
If anything, it’s an implicit show of solidarity for current BLM movements in Long’s original homeland, USA, offering time and space that suggests contemplation on the current, torrid state of affairs with a humble nod to the original vibes of Larry Heard et al, sparingly using samples of Stokely Carmichael in a series of lean drum trax layered with noctilucent pads.
Proggy concept album about influential 20th century philosopher Gilles Deleuze - RIYL Art Zoyd, Richard Pinhas, Heldon
“This new album (the tenth in their discography) was born from two ambitions: to pay tribute to Soft Machine's Third on form (4 sides / 4 titles) and to philosopher Gilles Deleuze (Difference and Repetition is the title of his thesis) on the contents. The 4 long pieces of this double concept album were developed over 2 years and each has a different style and climate. Bold and kaleidoscopic, Difference and Repetition perfectly synthesizes the musical and literary obsessions of Palo Alto.
Formed in Paris in 1989, Palo Alto released his first album (a cassette) on the Italian label Old Europa Cafe in 1990. The year 2020 is therefore an opportunity to celebrate the 30th anniversary of this first stone, the founder of a discography rich with 10 albums. The band is now composed of Jacques Barbéri (also a science fiction author), Laurent Pernice (ex-member of the French industrial band Nox) and Philippe Perreaudin (also coordinator of several compilations and reissues: Legendary Pink Dots, Un Département, Nino Ferrer Revisited, Ptôse, Hardy Fox…).
Literature, and particularly science fiction, is a leitmotiv in the band's work. Antoine Volodine, Thomas Pynchon, Philip K. Dick, Lewis Carroll or J. G. Ballard have been invoked many times. In recent years, Palo Alto has multiplied musical collaborations with, among others, The Residents, Ptôse, Klimperei, Tuxedomoon... From industrial music to inextricable electronic ramifications, by making a detour through improvisation, the musical universe of Palo Alto is multifaceted. Their new album is no exception to this rule…”
Charming Broadcast-adjacent psych-pop from Portuguese band Beautify Junkyards. Acid folk has rarely sounded so jangly and pristine - perfect lockdown escapism, trust us on this one.
There's something magical about Brazilian psych-pop - it inhabits that ethereal space between the faeries-n-goblins prog of the Canterbury set and the melancholy brilliance of Brazilian vocal music. Somehow, Portuguese band Beautify Junkyards manage to touch that same mythical space on their fourth album "Cosmorama", an alchemical concoction that takes the heart of Broadcast and simmers it with the bones of Os Mutantes. The resulting psychedelic soup is just a joy to swim in as the band trade vocals and dip between acoustic and electronic instrumentation.
"Cosmorama" sounds at times like the soundtrack to a long-lost TV documentary series, but Beautify Junkyards aren't entirely wedged in the past - their particular brand of whimsical melancholy sounds strangely current. The kind of psychedelic pop that Broadcast made their calling card has been a touchstone for plenty of contemporary bands, and Beautify Junkyards have found a way to make that more gauzy somehow - a dream pop album for a psychedelic love-in.
Sublime first new recordings in 20 years by 4AD’s original dream-pop experimenters J. Tardo and Kirsty Yates as Insides - RIYL Nouvelle Vague, To Rococo Rot, Slowdive
Formerly known as Earwig between ’89-’93, before forming Insides with a now sought-after album and singles for 4AD shortly thereafter, Tardo and Yates also issued one album of Nouvelle Vague-like gallic pop and acid jazz with 2000’s ‘Sweet Tip’ and promptly exited stage left until only recently. They now return to something closer to their original style on ‘Soft Bonds’, reprising a tenderly bleary and endearing sound warmly defined by Kirsty Yates’ breathy, languorous vocals and subtle, supple, carefully minimalist production by J. Tardo that’s prone to exquisite surprises.
The shrugging title of ‘It Was Like This Once, It Will Be Like This Again’ acknowledges a timelessness to their sound that oozes thru on their woozy opener, while they sweetly embrace a sort of Berlin-esque electro-pop minimalism realign To Rococo Rot in ‘Ghost Music’, setting parameters they come to explore in variegated strains of icily puckered synth-pop on ‘Misericord’, and the tip-of-tongue sensuality to ‘The Softest Bonds resist Resistance’ in the album’s first half. At the album’s core they make room for the chamber-like hush of ‘Subordinate’ setting more tender, semi-acoustic aesthetics that blossom into something like a drowsy, wilting Antenna on ‘Half Past 4’, and it all comes together in a a mix of the lovely glow of ‘Undressing.’
When Lindstrøm and Prins Thomas get together, expect the unexpected.
"The Norwegian production duo's third album III is also their first outing together in eleven years, since II from 2009—and as ever, Lindstrøm and Prins Thomas have crafted their own unique sonic world between the two of them. This is expansive, luscious electronic music rich with texture and intricacy, patiently revealing every eccentricity while constantly pulling the listener in. Getting lost never sounded so good.
Since the release of II, Lindstrøm and Prins Thomas have remained more than busy with their respective solo careers, but work on III was taking place behind the scenes the whole time—slow and steady by sending files back and forth. "There's a different process with every album," Thomas explains. "With the first two albums, we had a door between separate rooms in the studio, so I could open my door and play him something. We also toured together a lot after the first album, and after that experience we realized that we work better together at a distance. We're doing our best work by not worrying too much about what the other one of us is doing.
"Eventually, the bulk of III came together over the last year, as Lindstrøm and Prins Thomas teamed up to craft a lush and lovely work that recalls the hazy atmospherics of Air, the loose-fit jazz of Lonnie Liston Smith, and the genreresistant electronic music that both artists have made their name on over the course of their impressive careers."
Rambunctious but disciplined jazz-fusion from the 12th iteration of Franz Hautzinger’s Regenorchester, here flanked by Christian Fennesz, Otomo Yoshihide, The Neck’s Tony Buck, and Luc Ex in recordings of their 2019 show at Klangspuren Schwaz festival
“Founded 1995 in London by Austrian trumpeter and band leader Franz Hautzinger as an ensemble for experimental music, the project developed over the years into a mixed style wild fusion band. Various musicians like Fennesz, Tony Buck, Otomo Yoshihide, Burkhard Stangl, Oren Ambarchi, and others were part of this long-time and often changing project, combining jazz, improvisation, brass melodies, guitar rock and electronics. The band developed its specific pulsating and continously evolving "Regenorchester Sound", comparing the constantly changing ways of making music, analogue and digital. Hautzinger and his Regenorchester XII play a kind of “jazz about jazz”, incorporating quite naturally accomplishments of experimental improvisation or drone and noise experiences into the rock jazz sound, pushing the boundaries of sound art and always creating surprises.”
Lustmord and pianist Nicolas Horvath breath creepy new life into Dennis Johnson’s pioneering minimalist composition - an inspiration to La Monte Young - with dead spooky results
Horvath reduces the original 1959 piece for solo piano to its barest essence and Lustmord lurks in the spaces beyond, framing the keys with out edge-of-sibilance winds and super low end tones and very neatly blurring boundaries between presences of field recordings and synthetic tones. To be fair he is Hollywood sound designer so you can trust it sounds great alongside your Deathprod and Akira Rabelais records.
“Lustmord - Active since 1980, born of the original 'industrial' scene of the period. With its own distinctive approach, blurring the line between music and sound design Lustmord's work has featured in 45 motion pictures including The Crow and Underworld and also in video games, television and commercials. Recently Lustmord scored the music for Paul Schrader's movie First Reformed. While Lustmord is often credited for creating the 'dark ambient' genre there is much more nuance to its work than what that label implies. The music is not dark, but is a light that shines into and upon the darkness. Notable collaborations amongst many include Tool, Melvins, Jarboe, John Balance of Coil, Clock DVA, Chris & Cosey, Paul Haslinger, Karin Park and Robert Rich.
Nicolas Horvath - An unusual artist with an unconventional résumé, pianist and electroacoustic composer Nicolas Horvath is known for his oundariesless musical explorations. Horvath is both an enthusiastic promoter of contemporary music - he has commissioned numerous works (including no fewer than 120 as part of his Homages to Philip Glass project in 2014) and collaborated with leading contemporary composers from around the world, including Alvin Lucier, Mamoru Fujieda, Jaan Rääts, Alvin Curran and Valentyn Silvestrov - and a rediscoverer of forgotten or neglected composers such as Moondog, Nobuo Uematsu, Germaine Tailleferre, François-Adrien Boieldieu, Hélène de Montgeroult, Jean Catoire,Karl August Hermann.”
Utterly absorbing recording of experimental vocalist Yifeat Ziv sounding into the Amazonian rainforest, following from her brilliant contributions to David Toop’s super trippy ‘Apparition Paintings’ from early in 2020
‘Amazonian Traces of Self’ was created as a response to the artist’s experience in the Brazilian Amazon rainforest as part of the Labverde artist residence in 2019. It premiered at a David Toop event at Cafe Oto, and is based on a live performance she made at IKLEKTIK in London. Ultimately it sounds like recordings from another time, place or planet, imagining the rainforest’s inherently complex geometries as a natural sounding board, filter and FX unit where her voice can totally get lost and wander with delirious results. Honestly it sounds like we’ve just undergone a heavy DMT ritual and the forest is speaking to us from all directions.
"The forest reverberates my voice. The density of the trees and the thick canopy reflects sound waves and creates an echo as if I was singing in a closed space, maybe a chapel. I didn’t expect it. This echo feels like a mirror, it feedbacks my vocal intervention, reflecting traces of my own sound pollution in the Amazon’s dense soundscape."
--- Yifeat Ziv
"Yifeat Ziv’s voice has intensity and precision but what I really love about it is a searching quality, the feeling that it questions itself as it moves around in space, so the strength of it is not dogmatism or force but a genuine curiosity about where it goes, how it absorbs and is absorbed by other sounds, objects, materials and emptiness."
-- David Toop
No fewer than three unreleased Mika Vainio works resurface alongside quieter highlights of his catalogue in a 23 years-overdue compilation originally made for an exhibition in Milan.
First commissioned for the Snow Crash exhibition in 1997, ‘Kiteet’ now sees a posthumous release, reminding of Vainio's subtlest solo standouts in the likes of ’Syväys’ and ‘Radio’, sequenced beside three diverse, unreleased gems of the late, great composer at his piercingly focussed and minimalist best - utterly crucial listening for fans of his seminal mid-’90s output circa ‘Metri’ and ‘Olento’ for any Ø head or lovers of C.20th minimalist music.
For the uninitiated, the album serves as a handy primer on Mika’s most pivotal period, aside to his Chicago-inspired techno, when he forged a style of improvised live electronic music that hold up as some of the purest and most hauntingly life-affirming in a generation. The icy 12’ expanse of sliding sine waves describing endless tundra in ’Syväys’ is a total classic, while the 9’s of hypnagogtic drone and ether voices in ‘Radio’ is another, and ‘Halli’ is the closest we’ll come to shivering in an ice cave in the Arctic. We can now add the whistling bleeps and frozen synths of ‘Kiteet, Pt. 1’, and the characteristically cranky grip of its pulsating ‘Pt.2’, from the album’s unreleased highlights, to that list.
DeepChord’s Rod Modell lists and tilts at 140bpm+ in his banging solo debut LP for Tresor
Landing 20 years since his 1st Rod Modell release, ‘The Autonomous Music Project’ for Lunar, the ‘Captagon’ album finds Modell breaking his usual 120bpm sound barrier to go headlong for a classic early Chain Reaction style, nodding to a mid-late ‘90s era when the likes of Monolake, Matrix and Erosion (T++) kept pace with the rest of techno, but also kept it deep and hypnotic as fuck. While it’s quite possible this uplift in energy may leave some of DeepChord’s older audience out of wind, for many others it’s a breath of fresh air to his exhaustively explored style.
Through a simple gesture of pushing the tempo, Modell’s sound instantly becomes more urgent, as though woken from its sluggish reverie and now properly up for some aerobic mysticism. Along with the Chain Reaction nods, there’s clear reference to classic Detroit and related gear, from Mike Grant’s Black Noise to full flight Mills trax and Convextion at his paciest. However, Modell’s grasp of layered, subaquatic dynamics really places ‘Captagon’ in a league of its own, with a rinsed out and rinseable dynamic and traction brilliantly transposed from his fathoms deep catalogue of cv313, Echospace, and DeepChord productions with inexorable velocity.
Best thing he’s done in years, basically.
Liquid blooz bewts from Young Echo’s Jabu, joined again by Jasmine Butt, and now Daniela Dyson for a necessary dose of lowkey soul kissers on their do you have peace? label, somehow joining dots between Tricky, Tirzah, King Midas Sound and Junior Boys
Appearing from the haze of Bristol’s hotbox after that Cali-grade side from Manonmars, and leading on from Jabu’s earlier split with Sunun, ‘Sweet Company’ holds to a perfectly measured line of soothing, downbeat vibes rendered in soft focus dub in a way that genuinely appears to care for your bruised soul right now.
Trust there are no sharp edges to snag on, as the band’s Alex Rendall and Jasmine Butt share dreamily reverberant vocals with Daniela Dyson, pairing their combined range of caramelised and strung-out tones with softly played, hushed production by Rendall and Amos Childs, with the latter effectively serving a more feminine follow-up to his class work on the Manonmars album.
This CD features the original tape session recording (near 30 minutes of deep space exploration) and a near 40 minute rework from variant.
"This is a step in the evolution with the first tape session laying the groundwork for one of Intrusion's dreamiest productions hazes to date. This was the idea stage in where this project was conceptualized and evolved, minimal and subdued. What has not been heard before comes into glimpse via analog circuitry, obsolete synthesis & sequencers coming to life.. Gorgeous plumes of sound evaporate into the ether in these compositions conveying the purest essence and emotion of vintage signal processing, an absolute beautiful analog tapestry."
The Vanity Box Vol. 1 is an anthology of releases by legendary japanese DIY label vanity, active in the late '70s and early '80s.
The box includes 5 CD's. r.n.a. organism - r.n.a. organism meets p.o.p.o.; bgm - back ground music; sympathy nervous - sympathy nervous; sab - crystallization; a compilation of 7" singles.
Vanity Records is a none-more-legendary Japanese label established by music journo Yuzuru Agi in late ’70s Osaka, Japan. Its small but precious and catalogue of bold experiments with rock and electronics is hugely prescient in its scope, and would loosely fall within and expand the term “techno-pop”, which its label owner first coined to describe the futurist sound of Eno-produced bands like Talking Heads and Devo.
The bands featured were all in their nascent stages, covering a spectre. Form the slimy, munted TG-like sleaze impulses of Salaried Man, to rhythmic experiments by Isolation and Kiiro Radical that properly pre-echo Mika Vainio and parallel Conrad Schnitzler, and the scorched earth blues drags of Nishimura Alimoti, or the exquisite late night Dekkard’s apartment ambience of Wireless Sight.
Proper ground zero gear for the heads and fans of owt from YMO to Skaters, Suicide, Animal Collective, proto-techno and early punk wave mutations.
Shinichi Atobe’s entire discography for DDS, totalling 43 tracks / 4 and a half hours of music, assembled on a special edition USB Card housed in a bamboo box in an edition of 200, all material in WAV format.
Despite persistant rumours to the contrary, Shinichi Atobe is not a pseudonym for anyone else, it’s not T++ or Mark Ernestus or Terre Thaemlitz - he’s a producer based in Japan who released the penultimate 12” on the Chain Reaction label back in 2001 and then disappeared until 2014 when the DDS lads tracked him down with a bit of help from the Basic Channel office in Berlin. In the 6 years since, his five albums and EP for the label have created a singular and inimitable body of work, a stripped-down, bare-boned, feelgood template somewhere between classic Chain Reaction and DJ Sprinkles’ deep House classics, with a bit of added weirdness thrown in here and there.
On the USB card - the Ship Scope 12" (originally released on Chain Reaction in 2001, subsequently re-mastered by Matt Colton), Butterfly Effect (2014), World (2016), From The Heart, It's A Start, A Work Of Art (2017), Heat (2018) and Yes (2020).
Totally absorbing 3rd part in Meitei’s prized trilogy capturing lost Japanese moods, following sides of ghost story-telling and elemental sonics with a frayed suite of cut-up rhythms and samples; imagine Dilla meets The Caretaker on an Anime score…
One of the most distinctive and crafty artists we’ve heard emerge from Japan in recent years, Meitei and his absorbing catalogue have granted his listeners access to surreal, forgotten worlds where, for all intents and purposes, the past truly does feel like a foreign - if strangely familiar - land.
It’s been a real pleasure to immerse in the nuance of each of Meitei’s atmospheric sound-worlds, and ‘Kofū’ is a wonderfully unexpected addition to see out the series, contrasting his knack for shaping quietly rustling, melancholic scenes with more frenetic jump-cuts to colourful, but bittersweet, scenarios that subtly pay homage to working class courtesans of the Meiji era (circa late C.19th-early 20th, and Japan’s industrial and political revolution).
Using his art to give voice to dispossessed citizens of Japan’s past, Meitei’s descriptive skills are at their most sensitive, elusive, and affective here. Mottled vignettes of sampled vintage 78s are tiled with smudged & screwed Mica Levi-esque tekkers and collages of pitched-up vocals, old skool Kanye West style on the album’s two ‘Oiran’ works, dedicated to workers of the red light districts, with ‘Sadayakko’ and ‘Nyōbō’ slipping into something like Matt Wand on the MPC with Dilla or Carl Stone, along with an unmissable eight minute dream sequence cut, ‘Himawari’ recalling us the atmospheres of RZA’s Ghost Dog OST.
The fourth release of the thru the cosmos series, Eta/Aquariids commemorates sensational astronomical events that occur in the summer night sky.
"A sonic travelogue for the ultimate immersive experience for all stargazers and imaginative persons alike. This project consists of newfound sounds and 7:1 field recordings specific to our observation locations. In echospace, we pride ourselves on the many years of unique experiences that culminate from our deep love of astronomy. We have special plans to watch these meteorites grace our atmosphere, and not just as mere observers on Earth, but of whom believe in connecting with those from the future and the ones before us.
It is known that ancients partook in this experience, dating back as far as the Egyptians. These space particles disintegrating from Haley's comet are stunning, and simply provide us all with an exceptional human experience. It is advised that anyone watching be placed in complete darkness. And in this darkness, we are surrounded by light. This epic sound world was created to score as a soundtrack for the multitude of otherworldly cosmic events and features what we would consider some of the most engaging sound designs to date. A sonic universe all its own."