The score for Only Lovers Left Alive - a collaboration between SQÜRL (Jim Jarmusch, Carter Logan and Shane Stoneback) and Dutch lutenist Jozef Van Wissem - serves as a reflection of the distinct textures of Detroit and Tangier, bridging ancient and modern sounds, entangled and timeless.
"Avant-Baroque lute weaves through twenty-first century guitar grit, heavy back beats, Moroccan percussion, synth bass, field recordings, and numerous sonic effects to create a cinematic tapestry.
Guest vocalist Madeline Follin (Cults) appears on SQÜRL’s syrup soaked re- interpretation of the Wanda Jackson hit “Funnel of Love”.
Zola Jesus’ commanding vocal soars through Van Wissem’s “In Templum Dei”. And Yasmine Hamdan’s intimate and evocative “Hal”, recorded on the set of the film and mixed by SQÜRL."
Fathoms deep dub techno from Radius, aka the darkest alias of Stephen Hitchell (Echosace, Variant). Dwelling at ocean floor depths, the series’ ‘0/3’ volume sees Radius return to zero in three durational works tilting well over 1 hour total. Let’s say there are no surprises, but it does frame some of Hitchell’s starkest, driven gear between the range-finding dub chords and organically sloshing FX envelopes of the 21’ first part, and a superb mid-section recalling Rhythm & Sound at their most supine, waterlogged, and ultimately a starkly funereal 32’ tract of barely there bass inference and floating tones from the artist’s top shelf.
"This marks the final installment of Radius's "Interpolation Tapes" series, re-mastered in Echospace. All previously unreleased material culled from the Echospace vaults, these masters were one of the first Demo Tapes of the Radius project and where many of the sound sources for the series were conceived.
We've spent months doing our best to restore the old tapes from our Tascam 688, an 8 track cassette recorder purchased and abused since 1992 and to our ears still sounds quite impressive even by modern standards. We've had nearly every component replaced and re-calibrated to bring this obsolete machine back to life, it's been a truly nostalgic experience re-visiting and redesigning these masters. The first mix is an unreleased version rewired and reshaped by the cv313 project, taking cues from the original source material and developing it into an ocean of analogue bliss."
5CD box set covers the 4 albums John Foxx released between 1980 - 1985.
Including Metamatic, The Garden, The Golden Section & In Mysterious Ways - plus B-sides and out-takes from the sessions which have been added as bonus tracks after each original album, and on a fifth CD, Fusion/Fission. The Virgin Years includes a new analogue master of Metamatic , along with re-masters of the B-sides - 'This City', 'Film One' etc. The black box also houses five postcards with the artwork for the singles 'Underpass', 'No-One Driving', 'Europe After The Rain', 'Endlessly' and 'Stars On Fire'.
Sax deity Evan Parker joins Joshua Abrams' Natural Information Society for this self-styled "party album" that sprinkles Chicago house elements into the framework of improvised jazz.
'descension (Out of Our Constrictions)' is the sixth album from Natural Information Society and was recorded at London's Cafe OTO. Split into four chunks, the piece is a single 75-minute improvisation rooted in the transformative modern jazz skronk of Eric Dolphy and John Coltrane, but augmenting decades of soul, dance music and sounds from the diaspora.
The element that sticks out is Parker's sublime interplay with Jason Stein's bass clarinet. The two seem to dance with each other, winding squeals against each other and flitting between Abrams' and drummer Mikel Patrick Avery's innovative rhythm section. Lisa Alvarado fills in the gaps with effected harmonium, that adds an almost synth-esque throb to the slowly building improvisation.
By the album's concluding section, Abrams' guimbri (a West African bass) and Avery's drums beat out an almost 4/4 house rhythm, allowing Parker and Stein to go head to head, seemingly attempting to outdo each other with every lick. It's an exhilarating set from beginning to end, showing the energy and power that jazz can have to embody emotion, cultural history and human interaction.
Seven solo piano improvisations from Japanese pianist Naoko Sakata that show off her versatility, fluidity and musical skill. Impulsive, artistic and occasionally sublime.
'Dancing Spirits' is a rare solo piano album in that it highlights the importance - and the sheer craft - of improvisation. Sakata is a gifted pianist, but her improvisational skill is most impressive, as she harnesses a spectrum of complex techniques and seems to flip between them at will. There's a backbone of jazz, which is unsurprising considering her history, but Sakata shows an equal appreciation for classical forms, folk motifs and avantgarde ideas.
Most of all, on "Dancing Spirits" it feels as if Sakata is enjoying the process of improvising. She recorded the album in two days at Gothenburg's Annedalskyrkan, a large church in the middle of the city. This setting feels ideal, as Sakata channels spirits and spirituality into her evolving, freeform improvisations that teem with life, experience and artistry.
South African dancefloor scorchers from DJ Black Low, shared beyond the region for first time by the ever reliable Awesome Tapes From Africa
The internet is remaining tight lipped about this fella right now, but it ain’t hard to hear the serious dancefloor levels across ‘Uwami’, working to the side of Amapiano and Gqom styles with lip-bitingly tight Afro-house grooves darkened by gloomy pads, tested with electroid licks, and spiced by a selection of vocalists.
Run go check for unmissable bits in ‘Downfall Revisit’, sounding to us like John T. Gast doing Afrohouse; the stealthy build of ‘Jaiva Low’ starring Hapas Music; what sounds like a deep blue and ruder Donae’o in ‘Emcimbinii’; the hypnotic trills and wonky bass twang of ’Sbono ((Vocal Mix))’; a superb ambient Gqom flex in ’60 Days No Sleep’; and the straight-up trippy morse code melody and gurgling leads of ’Stiwawa Quitter’.
Top shelf tackle for the DJs and dancers.
DJ Sprinkles' classic Midtown 120 Blues, self-released by Terre Thaemlitz through their Comatonse imprint and finally available again.
Bringing deep house back into contact with its club culture roots, Terre Thaemlitz created one of the most essential house albums of the last two decades with 'Midtown 120 Blues'. Terre was originally working as a DJ under her Sprinkles alias in the gay clubs of midtown Manhattan and New Jersey in the late 80's when deep house began to blossom. It's this early period of House history which Terre has beautifully recreated over 10 tracks, making a pointed comment with the intro track taking shots at Strictly Rhythm for becoming 'Strictly Vocal' and pulling no punches towards "Most Europeans who think deep house means shitty hi-NRG vocal house".
With the intentions made clear, Terre develops a masterpiece of serene melancholy and sublime deep house crafted with the skill and dedication of someone who you know lived this music through every fibre of their being. From the rich subbass driven tones of 'Midtown 120 Blues' with plaintive pianos slowly encircling one another, to drag queen monologues over the deepest ambient brushed rhythms on 'Ball'r (Madonna-Free Zone)' or head-meltingly warm chords and caressed percussion of 'Brenda's $20 dilemna' - this will suck in and swallow you whole - transporting you to another place, another time.
A total pleasure.
please remember that we support Terre and Comatonse Recordings' efforts to keep projects offline, minor, and acting queerly. When purchasing this item, we ask you to refrain from uploading and indiscriminate sharing in any form. <3
Queer deep house pioneer Terre Thaemlitz hustles her entire DJ Sprinkles solo catalogue beyond the seminal ‘Midtown 120 Blues’ album in a crucial 19-track set of NYC-via-Tokyo gold, including many tracks popping their digital cherries for the first time.
‘Gayest Tits & Greyest Shits: 1998-2017 12-inches & One-offs’ sums up twenty years of action deep in the bowels of house with a precious suite drawing from rare and hard-to-find pearls scattered between the late ‘90s and end of the last decade. They span the specificities of a sound rooted in the gay scene of NYC from the late ‘80s onward, testifying to the minimalist, bass-heavy style that Sprinkles played at DJ residencies in transsexual clubs and would later take to Tokyo after moving there at turn of the millennium. For our money they’re some of the strongest, most distinctive deep house cuts of our time, holding true to the fundamentals of a style that would become mistranslated, misunderstood, and coopted by successive waves of deep house dilettantes.
Newly collected and presented in tandem with the ‘Midtown 120 Blues’ reissue, the 19 heavyweight club grooves still kill the old way, focussing on proper jackers drums and sphincter-tickle levels of subbass sparingly ornamented with samples in purist integrations of function and politics that don’t throw the baby out with the bathwater. From the earliest Sprinkles cuts in ’Sloppy 42nds’ (1998), a tribute to the 42nd St. transsexual clubs destroyed by Walt Disney’s buyout of Times Square, and 2001’s ruddy nods to that classic Adonis motif in ‘Bassline.89’, thru to proper red-lit basement pressure in ‘Glorimar’s Whore House’, puckered darkroom suss in ‘Kissing Costs Extra’ or ‘Masturjakor’, and up to the heart-punching 10min+ reworks of his Terre Thaemlitz material, it’s a totally unmissable set for proper house heads and far beyond. It’s a document of phase-shifting times helmed by one of the most interesting and important artists of our age.
Please remember that we support Terre and Comatonse Recordings' efforts to keep projects offline, minor, and acting queerly. When purchasing this item, we ask you to refrain from uploading and indiscriminate sharing in any form. <3
AJ Tracey assumes the character of a rising young basketball player appearing in a livestreamed press conference to reveal his next move: a lucrative deal with major franchise Revenge Athletic ahead of a crucial playoff game.
"The broadcast ends with the true reveal: AJ’s highly anticipated sophomore album ‘FLU GAME’ will finally arrive. Always pushing boundaries with his creative output, AJ’s campaign draws influence from the story of Michael Jordan and his Chicago Bulls team in the late 90s, with ‘FLU GAME’ referencing one of MJ’s most memorable championship games where he overcame a nasty bout of food poisoning (brought on by a dodgy takeaway pizza) and took the Bulls to the championship. Revenge Athletic are a franchise on the brink of a massive championship win and AJ is their new star. All we know for now is that AJ is about to take us into this new world, as he dons the number 10 jersey and states he’s “ready to get going [and] do what I’ve always done.”
‘FLU GAME’ sees AJ showcasing twelve brand new tracks, with tantalising features including Kehlani, T-Pain, SahBabii, NAV and Millie Go Lightly. On the production front, AJ calls on regular collaborators Nyge, The Elements, Kazza, AoD and Remedee. The project also features the UK Top Five singles ‘Bringing It Back’ with Digga D, ‘West Ten’' with Mabel and the Platinum smash ‘Dinner Guest’ featuring MoStack. AJ Tracey is a man on an unstoppable, independently built trajectory. 2020 was his biggest year to date, with (certified Gold) single ‘West Ten’ alongside Mabel landing in the wake of chart-scaling ‘Dinner Guest’ featuring MoStack (Platinum), Number 1 charity single ‘Times Like These’ (alongside Dua Lipa, Rag & Bone Man and The Foo Fighters) and the Platinum-certified TikTok sensation ‘Rain’ with Aitch, which went on to become the most watched UK YouTube video of 2020. AJ finished the year with a stand-out feature on Headie One’s enormous anthem ‘Ain’t It Different’ alongside Stormzy, a Platinum certified track that peaked at Number 2 in the UK Singles Chart."
Manchester psych/sludge rockers Gnod traverse alternate universes on this trippy latest slab. One for the Les Rallizes Dénudés obsessives or the Can fan club.
'Easy to Build, Hard to Destroy' is the latest blessing from long-running Manc outfit Gnod, finding the band yet again diving into the sludgy psych rawk dungeon, fusing lysurgic feedback passages with the kind of motorik rhythmic push you'd more readily expect to find on a Neu! album. Rock 'n roll is the backdrop, and not the kind of rock that's been steadily sterilized each year, but the recorded-in-a-basement rock that birthed the punk revolution in the early 1970s. Everything on the album sizzles with an energy that seems to welcome failure - you get the feeling that at any point the power could be cut and everything would be lost, and in a digital world, that's refreshing.
From the magickal opening clank of 'Elka', through the wall-of-sound Grateful Dead-gone-Stooges frazzled of 'They Live' to the haunted spoken word and drone horror grime of 'Deadbeatdisco', there's a dazzling scope to the album. Gnod refuse to stay moored in one particular genre or other, they're dedicated to grit, and seem completely nonplussed about where that grit might take them. One moment the band is in Dusseldorf, the next NYC circa 1982, but the texture is the same - Gnod make sludgy jammers, and that's something to celebrate.
Carter Tanton has been performing and recording music since the age of 15. Over the years, Tanton has toured and recorded with numerous artists including Marissa Nadler, Strand of Oaks, Lower Dens, and The War on Drugs.
"In 2012, he assembled Freeclouds, his first collection of songs for Western Vinyl. A couple of years later, Tanton moved to England where he wrote all of the songs on his sophomore solo album Jettison the Valley, which featured Nadler and Sharon Van Etten. On his new ST album: "I recorded these songs in 2017 in my childhood home which had been sitting empty on the market for nearly a year when I first brought over a microphone and laptop, guitar and piano. From the start an allegorical quality ran underneath any surface level pragmatism I told myself was guiding things. "During the year and a half prior, I had finished two discarded versions of the record. On the first, I played a slew of instruments to build up a band sound while the other was finished with help from friends in the War on Drugs. I had been growing disillusioned as to what music production actually accomplishes in the digital space and my old studio tricks didn't have the same punch anymore.
Mark Fisher once wrote 'technology has been decalibrated from cultural form' and likewise, I felt a flat disconnected drift disaffecting both prior versions. "A few friends had often told me how they wanted me to strip it all back and record just voice and guitar. The further I slipped down technological rabbit holes the more the concept of recording in the simple way the Carter Family once had freaked me out. However, similar to re-entering the sun filled room with quiet grounding, the dark familiar soundhole of my Martin D-18 eased out a new and unexpected hypnotic sound from the very beginning. "The records which haunt me are the ones which have a definitive feeling of time. 'Plastic Ono Band', Cat Power's 'Covers Record', 'Seventeen Seconds', The Blue Nile's 'Hats' and Lewis' 'L'Amour' all seem chiseled from one continuous strain of expression. A cosmic timestamp on a spiritualized totality salvaged by and blooming through prismatic specificity. After nearly two years of listless work, each of these nine songs was written and recorded within one day, respectively.
Any more time spent only weakened the original weight of the moment. few songs center around racism in America, especially framed by what happened in Charlottesville, Virginia in August 2017. "Steep Angles" quotes Sinead O'Connor's song "Black Boys on Mopeds" and I hope it can serve as a Trump era sequel. "Out Fayette" is a fragmented love letter to my hometown Baltimore, using the panoramic sprawl of Fayette Street punctuated by the then recent murder of Freddie Grey as moral axis. Two ambient pieces made with a field recorder and sampler, "V Rose" and "Honey in Tea", remain from the previous versions of the record. They were both created in single days and carried the same uncanny presence as the others. "Uneven High Places" was the first song I put down in the new improvisatory way. It's a distinct stylistic break from my earlier songwriting, heavy on mood and only sometimes stumbling into structure or hooks. "Five Pound Cheques" was recorded on my phone in a rush the day the piano movers came after the house had finally sold."
Mute re-tell the charming story of Telex, Belgium’s legendary disco band, with a peach-packed compilation of trimmed/remastered hits hailing a comprehensive reissue scheme on the horizon. File right up there next to Kraftwerk, YMO, The Human League, Vince Clarke
Best known for ocean-crossing anthem ‘Moscow Disko’, which was massive in USA and UK as well as their native lowlands; Telex’s Marc Moulin, Dan Lacksman, and Michel Mors created an influential legacy of playful, frothy disco and synth-pop that has hardly been bettered and, like the best of their era, has firmly withstood the test of time. ’This Is Telex’ marks their 30 years of skin in the game between formation in 1978, and their disbanding following the death of Moulin in 2008, with a carousel of picture perfect synth and electro-pop produced during the golden era when this sound marked a revolution in music production and popular culture.
Forefathers of a Belgian scene that would give the world Soulwax and Stroom, Telex made music with vim and humour and exacting style that would see them gain success everywhere from early Detroit warehouse parties to chic NYC clubs and diskotheeks at home. ‘This Is Telex’ works as an ideal primer for anyone unaware of their history, holding 14 cherrypicked examples of their sleek studio finesse and the kind of classic vocals that will - presuming you’re one of the unknowers - lay instant ohrwurms and have one wondering just how the chuff they’ve slept on them for so long.
If you’re young and fresh to the band, run go check their all-time evergreen ‘Moscow Disko’ (yep, that’s them!) or the perky ‘Twist à Saint-Tropez’ for starters, and maybe a shot of their Euro-bop bullet ‘Euro-vision’, or the lip-bitingly sharp Italo zinger ‘L’amour toujours’, and the Art of Noise-esque ‘Radio-Radio’ for high club frolics, while longer term heads may also keen to hear their previously unreleased twist on Sonny & Cher’s ’The Beat Goes On’, and The Beatles’ ‘Dear Prudence’ reset in Belgian chamber-pop synth style.
Following his debut album, ‘Nothing Is Still’, Leon Vynhall returns with a sprawling album of trip hop, ambient, tech-house and breakbeats kinked with his jazzy turns of phrase
‘Rare, Forever’ spells out his style with intricate sound design and overripe emotions between the Aim-like trip hop of ‘Ecce! Ego!’, the skudgy tech-house swivel of ‘Mothra’, with nods to Neurofunk D&B spliced with garage influence in ‘Snakeskin ∞ Has-Been’, and sidesteps into Second Woman-like filter mazes on ‘An Exhale’, with a bittersweet spot of skull-rubbing dissonant resonance in ‘Farewell! Magnus Gabbro.’
'The Watchful Eye Of The Stars’ is Adrian’s ninth studio album. Produced by luminary John Parish (Aldous Harding, PJ Harvey), this collection of ten songs invites us to join Adrian at his storytelling best, regaling us with tales of travel and wonder, by sea, by road, all quietly transfixing, transformative and wholly captivating.
"Suffused with a hazy and surreal quality, Crowley describes ‘Watchful Eye’’s poignant narratives as those which insisted themselves upon him. After the fact, it seemed these songs came to him more or less fully formed. “It’s a beautiful and mysterious thing,” he says. Perhaps it is a tendency to hold onto memories (“It’s taken me so long to write to you / Well I just couldn’t find a pen,” he laments in ‘Bread And Wine’), that allows him to unleash them lyrically in completion. For Crowley, the creative process is an organic event rather than a practice he feels compelled to regulate or control. He approaches lyrics much like he does short story writing.
“The songs straddle the conscious and subconscious world and some are even psychedelic in my mind, but to me they are all at once true stories and born of another place,” he shares. In making the album, Crowley moved between studio and at home recording, while John Parish produced. The pair worked from tracks made initially by Crowley on a charity shop ¾ size nylon string guitar or Mellotron: “In this way, John wanted to keep some of the magic of that first take,” says Crowley. Contradictions and complexities are left intact, initial recordings were limited to one or two takes and the songs feel more like a dream recounted upon waking. Jim Barr of Portishead contributed double bass and was brought in to engineer parts of ‘Watchful Eye’ in Bristol. Nadine Khouri and Katell Keineg were invited in as guest backing singers."
R.I.Y.L. Brian Eno, Jon Hassell, Beverly Glenn-Copeland, Laraaji, Robert Rich, Harold Budd.
"Across eight tracks that mesh spacious, jazz-laced composition with fourth-world and adult-contemporary tonality, Toronto saxophonist Joseph Shabason sketches an auditory map of the transcendence, unity, conditioning, and eventual renunciation of his upbringing in an Islamic and Jewish dual-faith household. The resulting album The Fellowship bears the name of the insular Islamic community Shabason’s traditionally Jewish parents belonged to from a time before he was even born; a mental and spiritual push-pull which continued shaping, even controlling, his outlook well into his adulthood. As a listening experience The Fellowship follows a chronological arc that spans three generations covering his parents’ early lives, his own spiritual and physical adolescence, and his subsequent struggle to eschew the problematic habituations of such a conflicted past."
Rogér Fakhr is a musician from Lebanon. He recorded these songs in the late 1970s in Beirut (and some during a brief exile in Paris). Some were circulated on hand copied cassettes among friends, others like "Had To Come Back Wet" were never released. His music effortlessly combines folk with touches of jazz and soul. He wrote, composed and arranged all songs. While working on his own music he also played for Ziad Rahbani, Fairouz and other musicians.
"When we first heard Roger's music we were blown away! The music was a mixture of folk with touches of other genres. Maybe one could also refer to it as "singer-songwriter", since all of the songs were Roger's own compositions. Songs of unique beauty both musically as well as lyrically. At the same time they gave me the feeling of them being somehow time and space isolated capsules. Nothing really revealed, where they could've been recorded and without knowing it was Beirut, my first guess maybe would have rather been California, sometime in the 1970s. The immersive effect of his compositions and voice are just incredible. I was stunned and proposed Roger to work on a re-release, which he politely declined, saying he had no interest in this music being reissued."
Berlin’s lowkey ambient wunderkind follows on the promise of his acclaimed albums since 2018 - solo and as half of OCA - with a completely lush study in Vibroacoustic therapy intended to help his parents sleep better.
The hour long suite stems from Florian TM Zeisig’s rare visit to his parents’ gaff in rural Bavaria a few years ago, where he discovered they had been using a vibroacoustic mattress - a mattress kitted with transducers or speakers - to aid them in getting some quality kip. Being a good lad, Florian wanted to help his parents in their quest, and spent the next few years developing this soundtrack; a serene 60’ of music resting on a rich bed of layered sub-bass frequencies that surely beckon users to the horizontal.
Most sensitively tending to this premise, Zeisig takes his role with requisite amounts of conceptual seriousness and gently witted pathos that have come to define his work, as on the critically acclaimed OCA album ‘Aging’ with Yo van Lenz in 2018, and in 2020’s deeply charming ‘Coatcheck’ soundtrack for cloakroom assistants. Working within the “vibroacoustic” framework, his results are typically gorgeous and user-friendly, playing into the space between new age ambient music’s putative therapeutic purposes and its well intended pseudo-science, with a warmly sublime conception of classic ambient music that beautifully resonates with records from Eno to Space Afrika and Midori Takada.
"Much like the New Orleans–born artist who created it, Dawn Richard's Second Line is an unapologetic genre bender that pushes boundaries, expands possibilities, and shatters expectations. It’s more than just an album: Second Line is a cohesive sensory experience that questions traditional ideas of sound, production, and visual aesthetics as they relate to music. Its interlocking parts tell an epic story about the quest for artistic expression, with Dawn describing her project as “a movement to bring pioneering Black women in electronic music to the forefront.”
She elaborates further: “You never see women appreciated as producers and artists alike—especially Black women in the electronic space. The time is now for us to start recognizing their talent, not only in electronic music but in all genres. I wanna be the reason why a young Black girl from the South can be whoever she wants to be musically, visually, and artistically.” Second Line cuts to the chase with its opening suite of dancefloor bangers, immediately displaying Dawn’s mastery of layered production and melodic hooks. On the hypnotic “Nostalgia,” her pleas of “Do you love me anymore?” are answered on the following track “Boomerang.” “Bussifame” builds slowly and assuredly to become a feverish boogie before melting into the complex rhythms of “Pressure.” Second Line treats Louisiana Creole culture, New Orleans bounce, and Southern Swag as elemental, allowing Dawn to weave in and out of house, footwork, R&B, and more. As she says, “I am the genre.”
Maestro of the sampler Carl Stone goes on a mad joyride with his most hooligan-friendly decimations skidding wildly into drill ’n bass territory
Ever unpredictable, but predictably brilliant, Carl Stone has evidently had something of a second wind in recent years with a rush of amazing new works and retrospectives that set him out as a truly overlooked avant-garde innovator of a singular calibre with a bold catalogue stretching back to the early ‘80s. From beguiling pop cut-ups to glitching transformations of South East Asian folk, his music knows few bounds beyond what is possible with his sampler and software, resulting some of the most spellbinding contributions to the glitch/electronic/avant garde world out there, and this new one is flipping outstanding.
Booting off with something like a $hit & $hine hoe-down in the smashed Bonham break ballistics of ’Pasjoli’, he cuts loose between something like Squarepusher-meets-Coil in ‘Huancho’, and one of his masterfully twisted pop chop-ups in ‘Au Jus’, and does the same with folk music in ‘The Jugged Hare’, while drawing out something deeply uncanny from whatever pop tune he’s razzing out in ‘Ganci’, and pretty much emulating the effect of listening to the Panda Bear after a balloon and big slug of K in the mind-bending ‘Saaris’. It’s all more than our RDA of psychoactive sonic substance and we love it.
Driving clash of roots and future vibes from Ghana’s Alostmen, starring highlife legend Gyedu-Blay Ambolley and local stars Yaa Pno and Medikal
Centred around Stevo Atambire and produced by Wanlov (Fok’n Bois) and Percy Yip Tong, Alostmen update the traditional Frafra instrument, the lute-like kologo in a modern context inspired by rap, reggae and Malian music as much as local Ghanaian styles. The tracks were recorded in hotel rooms while Stevo was on tour in Uganda and North West Ghana with Wanlov’s band, Afro Gypsies, with resulting highlights strewn between the stripped down twang and concentrated energy of ‘Bayiti’, the talking drums of ‘Tanga’ and ‘Atubga’, the swaying Malian feel of ‘Fauziah’ and the swingeing Afrobeat momentum of ‘Minus Me’ feat. Ambolley.
A high water mark of ‘90s UK culture returns on its 25th anniversary, reminding older heads of the best times, and a history lesson for the critical mass of junglists developed during lockdown
Produced in 1995 by the gold-grilled hardcore/jungle/D&B pioneer, engineered by Rob Playford, Dillinja, and 4Hero’s Dego and Mark Mac, with vocals by the legendary Diane Charlemagne (R.I.P.), ’Timeless’ was and still is an ambitious and enduring example of British Afrofuturism. The album’s sense of discipline and crucial style was symptomatic of the scenius developed by a tight circle of mostly Black and mixed race British artists who drew on their African and Afro-Caribbean roots to develop a unique artform that expressed their identity, which would in course become adopted by a wider generation as their own.
A pinnacle of its artform, arguably never bettered, the album was practically ubiquitous during the mid-‘90s, with its introductory anthem ‘Inner City Life’ - part of the album’s opening three-part suite - a staple on MTV2 and mainstream radio, which helped transcend its urban roots and infect a whole generation beyond big cities and their clubs. It’s almost hard to imagine such a futuristic album quite like this appearing and exerting so much effect on the popular consciousness in 2021, but the ‘90s was a very different place and time, and we can only live in hope that the next decade will foster the next Goldie.
Oh, one last thing - AGCG's 'Black Secret Technology' came out almost exactly 5 months before 'Timeless', it didn't quite have the same promo budget behind it, but it's legacy seeps even further and deeper than 'Timeless' - and is perhaps, on the quiet, the most influential electronic album of the late 20th century. Just sayin.
Reissue of Goldie’s dud 2nd album, augmented with a bonus disc of remixes by Martyn, Grooverider, Optical, Gremlinz & Jesta, and Djrum that are worth a peep
We’re not going to waste time adding to the critical bricks lobbed at this album, but we will give a run thru the bonus CD of remixes and rare cuts. From the D&B nu skool, Gremlinz & Jesta work a tuff update of tech-stepper ‘Demonz’, and Martyn teases out the same track in a killer, signature 2-step woodblock style.
‘Crystal Clear’ provides contrasting results ranging from former Need For Mirrors producer HLZ’s smooth liquid rolige to a crafty transition of slow/fast, viscous soul to paso doble rushes by Djrum, and Optical revamps ‘Temper Temper’ with gnashing hardstep pressure, unfortunately keeping the vocal though. There’s also a 13 minute ‘Strings’ version of ‘the 70 minute+ ‘Mother’ 2nd disc off the original release.
A bearhug of chill-out room gouching gear from MFM spanning the golden era of ‘90s ambient dance music with gems from David Moufang, LFO, Global Communication, Kirsty Hawkshaw, Sun Electric and many more notables of that era.
Since the world turned into a big chill out room in early 2020, albeit with a heavy sense of anxiety, this set could hardly be better placed for downtime in the comfort of your own home, rolling out mystic highlights such as LFO’s MDMA-tingle arps and pads in ‘Helen’ and the sublime suspension systems of Global Communication’s remix of ‘Arcadian’, along with Move D’s early nugget ‘Sergio Leone’s Wet Dream’, and the lush pads of his close spar Jonah Sharp’s Spacetime Continuum, plus a strip of killer slow acid in Sideral’s ‘Mare Nostrum’, and the blissed romance of ‘Love 2 Love’ by Sun Electric.
One for the lovers and the ravers.
Mass-rock mainstays Dinosaur Jr.'s twelfth (!) studio album is expectedly reliable collection of air-fried indie rawk and familiar 1990s jangle. If it ain't broke, etc.
Lou Barlow, J Mascis and Murph are back again with "Sweep it into Space", their first new album in five years. This time it's produced in collaboration with Kurt Vile, but don't expect the singer-songwriter to have had too much impact on the sound: this is still very much the Dinosaur Jr. we know and love. Vile was initially due to have more of a role, but was held back by COVID-19 restrictions. The result is a more traditional record that captures a band that know each other so well (they're 36 years old this year) that it's almost on autopilot.
That's not to say "Sweep it into Space" is dull, far from it - tracks like 'I Met the Stones', 'Garden' and 'And Me' are the sound of a band still more than capable of capturing the bottled lightning that made them such an enticing prospect in the first place. When you get bored re-listening to old Pavement albums or avoiding Weezer clips on Instagram, this should hit the spot.
Industrial music and bleep techno legend Richard H. Kirk is back with a long-form synthdrone experiment. Dark, dystopian heaviness that serves as a bleak reflection of a complex era.
Sheffield's Cabaret Voltaire reappeared last year with "Shadow of Fear", the first proper album in 26 years. Originally a trio, the act is now a solo project of founder member Richard H. Kirk, who bleep techno lovers might know better as Warp Records OG Sweet Exorcist. But don't expect a selection of minimal 4/4 jams here - Kirk has fully leaned into the industrial mode on "BN9Drone", a single hour-long track of wobbly synth, crunchy distortion and searing noise.
It's engrossing, pineal-tickling stuff, hinged around a single synth tone (maybe the "drone" in the title?) that Kirk molds and pulls like clay, embellishing it with radio static, voices and chimes. Kirk has long been an innovator, and this harks back to his industrial roots, reminding of Maurizio Bianchi, early Merzbow, Prurient or other disintegrated fuxxed electronix.
Recorded in 1995-96, "Mutator" is Suicide don Alan Vega's attempt to reflect the energy of East Coast rap, draping his words around loose beatbox rhythms and industrial ambience. Unique, powerful and absolutely bonkers.
'Mutator' is the first in a series of archival releases from the Vega Vault. Vega was a ridiculously prolific artist, and many of his records were shelved not for any reason in particular, but just because he was writing so much. He penned "Mutator" alongside his regular collaborator Liz Lamere, who handled the synths and drum machines while Vega manipulated the sounds and added words.
The recordings from this session were dug up by The Vacant Lots' Jared Artaud in 2019 and were subsequently mixed and mastered by Lamere and Artaud. The resulting album is a window into Vega's mind in that era; he was fascinated by the sound of New York's streets, and pre-gentrification that would have been traffic noise, police and hip-hop.
These sounds are the backbone of "Mutator": funk-fuelled machine beats, wailing siren synths and surrealist rhymes that echo the cadence of 1990s rap. It's music that feels a million miles from his relatively poppy 1995 full-length "Dujang Prang", and shines a spotlight on a fearlessly creative mind operating in one of New York City's most fertile time periods.
Dream pop darlings Ulrich Schnauss and Jonas Munk return for their most celestial collaboration to date, a sublime soup of kosmische, shoegaze and new-age moods that shimmers with emotion.
'Eight Fragments of an Illusion' is Schnauss and Munk's third collaborative album, and was recorded over the last three years at Schnauss's well-equipped studio in London. In the time since the duo's last record (2017's "Passage"), Schnauss has spent a significant amount of time working as a member of Tangerine Dream, so it shouldn't come as a surprise that this has impacted the direction of the music.
Where its predecessor had an almost soft-rock maximalist approach, "Eight Fragments of an Illusion" is more markedly minimal, eschewing percussion almost entirely in favor of slow-building tracks that accent the interplay between Schnauss's synth and Munk's guitar. Opener 'Asteroid 2467' is hypnotic and melancholy, softly shuttling from reverberating Cocteau Twins-esque guitar into '80s Tangerine Dream-esque OST-synth bliss.
'Return To Burlington' features a brittle drum machine that reminds of Schnauss's hallowed debut "Far Away Trains Passing By" and chiming mallet sounds that create a wall of harmonic haze. The album's extended centerpiece is 'Perpetual Motion', and hinges around a muted dub techno rhythm, tangling Munk's guitar into looping synth echoes and shuffling beats. It's an unexpected diversion for the duo that shows their ability to evolve as they develop their sound. if you've ever wondered what Slowdive and Seefeel might sound like reworking the soundtrack to "Risky Business", this might help point you in the right direction.
First new LP in 14 years by Kosmische pioneer Michael Rother (Neu!, Harmonia, Kraftwerk), painting elegant pastoral scenes and lolling synth-pop accompanied by a new vocal muse
Like the soundtrack to an air-conditioned bar at a Goan retirement village for krautrock kosmonauts, ‘Dreaming’ may well please the happiest old hippies but may taste a bit too like specialist German cheese to others, depending your tolerance for milky arps, motorik chug and breathy valium vox.
Presenting richly detailed hydrophone recordings of algae development in the rapidly depleting Arctic, Jana Winderen’s latest research is a fascinating and acutely topical study of ‘Spring Bloom in the Marginal Ice Zone’.
Prefaced by a sobering interview with world-renowned Professor of Marine Science, Carlos Duerte, the album presents headphone and speaker mixes of the title track, offering an immersive sonic inspection of the transitional area between open sea and sea ice, where the world’s biggest bloom of phytoplankton - the micro-organisms that produce half of the oxygen on the planet - accounts for the most critical CO2 sink in the biosphere.
The results are unmistakably foreboding, layering the sounds of blooming plankton with the tense cracks, pops and creaks of sea ice, and the subaquatic sound of bearded seals, migrating humpbacks and orcas, crustaceans and spawning cod, into a properly suspenseful and eerily alien experience.
Outstanding introduction to Amapiano, the hypnotic house sound of Guateng, SA with feet in Kwaito and deep house styles. Proper dancers’ gear, dead compatible the deeper ends of Gqom, and new London sounds on Housupa. Tipped by Tom Booigzm, Black Mecha, and us, at the least.
“The past five years have seen amapiano, South Africa’s electronic music movement born in the townships of the country’s Gauteng province, evolve from an underground sound to a nationwide mainstream staple. Even with its commercial success though, amapiano’s DIY ethos has continued to disrupt music creation and distribution in the country. Most amapiano commercial successes today began their careers on cracked versions of production software like FL Studio, distributed their work through file sharing platforms like datafilehost and marketed it using social media pages they controlled and influenced.
Amapiano is partly a tasting menu of South Africa’s musical history, a lineage that has been as much a backdrop to the times as it has been a catalyst for change in the country. South African jazz has thrived pre and post-democracy, contributing international stalwarts of the genre, notably Miriam Makeba, Abdullah Ibrahim and Hugh Masekela. Kwaito music—which itself borrowed from other genres like marabi, kwela, mbaqanga, maskandi, bubblegum and others—was created and proliferated in the 90s partly because of the newly accessible House music imported into the country. In the early 2000s, Deep and Afro House dominated, to be followed by the rise of diBacardi, a percussion—heavy electronic music genre most popular in the city of Pretoria and its surrounding townships.
Amapiano Selections, the debut album by DJ and producer Teno Afrika, gives listeners outside the movement’s online release economy an insight into the high-burn nature of amapiano that has spawned a distinct typology under its larger umbrella. Nineteen-year-old Lutendo Raduvha has spent the bulk of his life moving between different townships on the outskirts of Johannesburg and Pretoria in the Gauteng province. The palette of amapiano styles on the album reflect these influences.
But at first, South Africa’s youngest electronic music movement lived underground with a small, loyal following. “Amapiano is a genre that I chose because I have a passion for it,” says Teno “I started following amapiano in 2016 because I wanted to explore how it’s produced. It was not taken seriously in our country. By: Setumo-Thebe Mohlomi”
Influential Seattle-based ambient visionary Kerry Leimer returns with a crackly set of homespun electronics and placid ambience.
'Found Objects' is the umpteenth album from the prolific composer, assembled after almost a year of experimentation with studio serendipity. Built around glitchy recordings of piano, synthesizer and strings, it's a cloudy collection of whimsical ambience that reminds of Taylor Deupree or Machinefabirek, but retains a particularly individual sense of purpose. When skeletal drums appear on 'Opulent Lyricism' there's a breath of The Remote Viewer's City Center Offices material and that's no bad thing at all. Lovely.
Snap on your lycra - Kraftwerk are back with their first release since 2004; across-section of live performances captured in world-renowned museums and galleries across the world between 2012-2016. OK, it’s not a new album, per se, but it does feature new recordings of total classics rendered in all new psychoacoustic 3-D to sate the fan’s thirst for something, anything after ten years of no releases from the world’s greatest man-machine band.
So, the 3-D thing, a sales gimmick or additional dimension to Kraftwerk’s sound? Listening on headphones right now, it’s definitely not a gimmick; the sound is super wide and lustrous, vividly swirling the head along multiple planes of geometry, making us involuntarily do that thing with our eyes, trying to pick out where the sound is coming from, just like someone trying to do mental arithmetic or retrieve forgotten information from your clump of grey matter between the eyes.
Like we said, there’s no new material, but every track is an alternate take on their, by-now, very familiar song structures, re-cycling the internal mechanisms of each piece into dynamic images of themselves, ranging from an abridged, 14 minute version of Autobahn and a glorious rendition of Radioactivity to hyper crisp, almost DJ style transitions between Trans Europe Express - Metal on Metal - Abzug - The Man-Machine on disc 1, and then strafing another ruck of classics from he Numbers-Computer World one-two, thru the ricocheting, extreme panning applied to the Boing Boom Tschak-Techno-Pop-Music Non Stop jabs, and finally onto a reorchestrated mix of the strings for the Prologue to the original Tour De France and its breezy, gear-shifting components from the 2003 release.
"One would think that after the “Gullvåg Trilogy” - two double and a single album in a mere three years - this ultra productive trio might be in need of a break of sorts... but on the other hand, riding a golden wave like never before in their 30+ year existence, why stop now? Especially when constantly upping their own quality standards.The bulk of the album was recorded in France back before the pandemic, but was added to, expanded, tweaked and eventually finished last year. The initial idea was to collect big riffs on one album and do a pure hard rock record, but the objective changed along the way as they rediscovered their folkish bent and how this lighter touch gave it all a nice contrast. That said, the main musical thrust is pretty full-on, even by Motorpsycho standards.Kingdom of Oblivion was mixed by Andrew Scheps and produced by Bent Sæther.Reine Fiske guests on several tracks.Cover art is by Sverre Malling and cover design is by Håvard Gjelseth."
Damaged industrial noise techno experiments that sound like a collapsing cyberpunk dystopia. You already know! Think Pan Sonic, Pharmakon, Merzbow and latter-day Prurient.
Japanese noisemaker Yuko Araki was raised as a pianist, but as a teen found herself fascinated by the dynamic sound of metal and hardcore. After playing in rock bands for a while, she joined acid house duo Yobkiss on vocals and electronics; a few years later in 2017, she began experimenting with experimental music and noise, combining her love of sonic intensity and rhythmic pressure.
"End of Trilogy" draws a line under Araki's solo work, distilling her interest in prog rock and kosmische music into short vignettes that push at the boundaries of extreme music. The most obvious comparison would be to Mike Vainio's pioneering analog sound worlds, but Araki's unpredictable intensity isn't cold, nihilist or emotionless - it digs into almost surreal, hedonistic playfulness.
MFM smoothly shift their frame of Japanese references to the CD era with a clutch of synthesiser jazz, ambient, and genteel Pop strokes including a bounty of Haruomi Hosono productions.
In the works for some years now, ‘Heisei No Oto’ corrals 14 leftfield Japanese pop charms created 1989-1996, charting a pivotal phase when Japan’s music market fully embraced the CD format over vinyl, and which also coincided with both the culmination of Japan’s rapid economic growth during the ‘80s, and the beginning of the Heisei era - marking the reign of Emperor Akihito until his abdication in 2019.
Compiled by MFM’s pals, Eji Taniguchi and Norio Sato of Osaka record stores Revelation Time and Rare Groove, respectively, and including nuggets picked by Chee Shimizu, the set spans those years in the wake of a wave of records that have resurfaced over the past decade thanks to YouTube algorithms; plunging deeper into the warm currents of post-new age and corporate ambient, taking in lilting home-grown jazz, ambient, and pop records of a rare, visionary calibre that have remained overlooked within and outside Japan.
Our ears are drawn to the quiescent FM fantasy of Jun Sato’s ‘Iorang’ at the front, and likewise to the tropical breeze of popstar Yosui Inoue’s ‘Pi Po Pa’, as well as the gossamer vocals and brooding wooze of ‘Nobody’ by Poison Girl Friend, or the steel drum sensuality of ‘Phlanged Vortex’ from Eiki Nonaka; but it’s plainly evident that Japan-o-philes and diggers of all stripes are going to be up to the gills in the good stuff here.
Ultra-minimalist explorations of space, tone and the act of listening itself, from ever-perceptive Angeleño, Richard Chartier (Pinkcourtesyphone), who typically lurks at the threshold of the listening experience.
Appearing one year on from his digital album with longtime accomplice William Basinski, Chartier is left to his own devices here with signature, beguiling results that fascinate the ears as only tends to. The title ‘Interreferences’ succinctly defines his interest in music at its broadest and most specific, with what is perhaps the most enchanting definition of his intentions to “explore the inter-relationships between the spatial nature of sound, silence, focus, perception, and the act of listening itself.” We’re sure that my of you are well aware and appreciative of Chartier’s role as a key modern minimalist, but if you’re new to his work, and/or perhaps growing tired of “ambient” music’s limits, you would do very well to check in here for a portal to other vital planes of atmospheric music.
The six part, hour long work arrives in the wake of the artist’s 50th birthday, and finds him pondering fundamental, even existentialist, questions about his work. “Why these sounds? What is the attraction to these sounds? How did I arrive at these compositions and their placements?” While we haven;t got the answers, we can comment that the purpose and meaning of Chartier’s music, to us at least, still beckons the mind to rarified headspaces, suggesting a slowing or calming of time and expansion of personal space that encourages thoughts to occur in a way so much other music doesn’t. It’s a music of presence and inference that will sound different to each user, and from day to day, and feels like a sort of sacred invisible mountain that one doesn’t climb but rather circles from the base.
Gigi Masin’s 'Plays Hazkara’ album alongside a book that collects introspective stories and intimate lyrics by Mirco Salvadori, choosen among released and unreleased material that he produced in last years.
"Salvadori is well-known for his work as music journalist, as well as active producer for new sonic experiences as co-owner and art director of the indipendent netlabel Laverna. The writings are accompanied by the presentation of his friens Fabrizio Loschi, artist from Modena, coupled with the intense pictures by Stefano Gentile and Monica Testa, and the music themes written and performed by Gigi Masin who, in the enclosed "Harzarà" CD, offers 8 new tracks in the unmistakable style of the Venetian ambient master musician, already coupled together with Mirco Salvadori in InfanToo art project... a sound path that starts from ambient atmospheres to gather rythms and sonorities perfectly lined and interpreted by them, as the images, the intese writing of written. Total music beyond each stylistic cataloguing... pure poetry."
A standout in Chris Abrahams’ (The Necks) catalogue from 2005 returns for a 16th anniversary reissue reminder of its supremely odd organ and DX7 whorls.
Sketched out on his trusty piano, plus a positive organ (small portable organ), and spattered with DX7 scree, ‘Thrown’ is Abrahams 5th solo LP since his landmark debut ‘Piano’ (1985) and sees him veer off at angles from his previous works. It’s far more succinct than its sprawling double disc predecessor ‘Streaming’, and also more explicitly electronic, creating a bewildering tension between physical haptics and digital synthesis that really prizes a strange and surreal sort of sensuality, at times OOBE-like and at others remarkably recalling the pure electronic oddness of another Aussie resident, NYZ (although afaik there’s no tangible links between the two.)
Future-proofed by its unusual combination of tones from archaic and contemporary machines, the tracks variously and brilliantly buckle any timeframe you may chuck at it. ‘Bellicose’ sounds out something like a medieval psychedelia that wouldn’t sound out of place i a scene from ‘A Field In England’, and he really gets us with the reeling keys and subtly keening dissonance of ‘Remembrancer’, while ‘Coins In Vinegar’ could almost be the result of a complex synth system set up and animated by Dave Burrston, and the wickedly zonked drone of ‘Car Park Land’ makes our eyes go funny.
Xiu Xiu makes beautiful music for hard times.
"For nearly 20 years, the band has a track record of crafting experimental music for moments when life’s harsh realities meet its existential mysteries. On the latest album, Jamie Stewart explores a recent revelation and is reminded of the power of the band’s music to surprise and connect. Listening to the songs on OH NO, it is hard to feel truly alone. Instead, it is a reminder that even when we’re alone, we’re alone together.
OH NO, the group’s newest album, is an album of duets, with Stewart sharing the stage with an array of guests who have made an impact on him personally and musically. This is the first Xiu Xiu album where every song spotlights Jamie Stewart and a collaborator. The album features artists across the musical spectrum, including Sharon Van Etten, Circuit des Yeux’s Haley Fohr, Grouper’s Liz Harris, Alice Bag, Chelsea Wolfe, Owen Pallet, and Twin Shadow’s George Lewis Jr., all drift into Xiu Xiu’s distinctive soundworld. The album was born out of anguish and isolation, but exists as it does because of a profound rediscovery of community and friendship. It is the sound of finding one’s place in the world after the destructive powers of jealousy and mistrust make any map seemingly unreadable."
It’s been a decade since Andy Stott released ‘Passed Me By’, a radical re-imagining of dance music as an expression of “physical and spiritual exhaustion” (Pitchfork). What followed was a process of rapid remodelling: ‘We Stay Together’ (2011 / slow and f*cked, for the club), ‘Luxury Problems’ (2012 / greyscale romance), ‘Faith In Strangers’ (2014/ destroyed love songs), ’Too Many Voices’ (2016 / 4th world Triton shimmers) and ‘It Should Be Us’ (2019 / the club, collapsed) - a run of releases that gradually untangled complex ideas into a singular, chaotic body of work - somewhere between sound-art, techno and pop.
In early 2020 - with a new album almost done and an offer to produce for a mainstream artist on the table - personal upheaval and a pandemic brought everything to a sudden standstill. Months of withdrawal eventually triggered a different approach. recording hours of raw material; slow horns, sibilance, delayed drums, wondering flutes - whatever, whenever.
With vocals recorded by Alison Skidmore, the album was finally completed late last year- taking on a different shape. Its songs desolate, melancholy, defiant, beautiful - often all at once. The sounds echoed music around Stott during those months: Prince, Gavin Bryars, A.R. Kane, Bohren & der Club of Gore, Robert Turman, Cindy Lee, Leila, Catherine Christer Hennix, Junior Boys, László Hortobágyi, Nídia, Prefab Sprout - the unusual / the familiar.
Echoing that mix of new and old, each of the songs on ’Never The Right Time’ is woven from the same thread despite following different trajectories; from the lovelorn shimmer of opener ‘Away not gone’, to the clattering linndrum pop of ‘The beginning’, through ‘Answers’ angular club haze, and the city-at-night end-credits ‘Hard to Tell’. These are songs fuelled by nostalgia and soul searching, but all hold true to a vision of music making as a form of renewal and reinvention. A 10 year cycle, complete.
Max Eilbacher sprouts wildly variegated blasts of intensive computer music process for Barcelona’s indomitable Anòmia
The sometime member of Horse Lords has been especially busy in the past 12 months, spraying his material between a GRM split with Lucy Railton, and the likes of Superpang and Ultraviolet Light, run from his native Baltimore, MD.
His eight helpings of digital scree and fractals in ‘Here A Peak, There An Abyss’ were recorded in 2017/18 using prebuilt VST synths, and pay homage to the paintings of French-Swiss architect, writer and deconstructivist Bernard Tschumi. Can’t say i’m familiar with Tschumi’s work, but a cursory look tells us that Eilbacher’s results sonically resemble the oblique masses and angularity of Tschumi’s architectural drawings to many extents, with some real hard nosed computer music fukkkery and frolics between the construction site drills and recursive blatz of ‘EAT’ and the lushly giddy dynamism of ‘CH003.’
It was in Benin City, in the heart of Nigeria, that a new hybrid of intoxicating highlife music known as Edo Funk was born. It first emerged in the late 1970s when a group of musicians began to experiment with different ways of integrating elements from their native Edo culture and fusing them with new sound effects coming from West Africa s night-clubs.
"Unlike the rather polished 1980 s Nigerian disco productions coming out of the international metropolis of Lagos Edo Funk was raw and reduced to its bare minimum. Someone was needed to channel this energy into a distinctive sound and Sir Victor Uwaifo appeared like a mad professor with his Joromi studio. Uwaifo took the skeletal structure of Edo music and relentless began fusing them with synthesizers, electric guitars and 80 s effect racks which resulted in some of the most outstanding Edo recordings ever made.
An explosive spiced up brew with an odd psychedelic note known as Edo Funk. That’s the sound you’ll be discovering in the first volume of the Edo Funk Explosion series which focusses on the genre’s greatest originators; Osayomore Joseph, Akaba Man, and Sir Victor Uwaifo: Osayomore Joseph was one of the first musicians to bring the sound of the flute into the horn-dominated world of highlife, and his skills as a performer made him a fixture on the Lagos scene. When he returned to settle in Benin City in the mid 1970s - at the invitation of the royal family - he devoted himself to the modernisation and electrification of Edo music, using funk and Afro-beat as the building blocks for songs that weren’t afraid to call out government corruption or confront the dark legacy of Nigeria’s colonial past. Akaba Man was the philosopher king of Edo funk. Less overtly political than Osayomore Joseph and less psychedelic than Victor Uwaifo, he found the perfect medium for his message in the trance-like grooves of Edo funk. With pulsating rhythms awash in cosmic synth-fields and lyrics that express a deep personal vision, he found great success at the dawn of the 1980s as one of Benin City’s most persuasive ambassadors of funky highlife. Victor Uwaifo was already a star in Nigeria when he built the legendary Joromi studios in his hometown of Benin City in 1978. Using his unique guitar style as the mediating force between West-African highlife and the traditional rhythms and melodies of Edo music, he had scored several hits in the early seventies, but once he had his own sixteen-track facility he was able to pursue his obsession with the synesthetic possibilities of pure sound, adding squelchy synths, swirling organs and studio effects to hypnotic basslines and raw grooves. Between his own records and his production for other musicians, he quickly established himself as the godfather of Edo funk.
What unites these diverse musicians is their ability to strip funk down to its primal essence and use it as the foundation for their own excursions inward to the heart of Edo culture and outward to the furthest limits of sonic alchemy. The twelve tracks on Edo Funk Explosion Volume 1 pulse with raw inspiration, mixing highlife horns, driving rhythms, day-glo keyboards and tripped-out guitars into a funk experience unlike any other."
After releasing their 17th album 'Abolition of The Royal Familia' earlier this year, The Orb are back with further guest appearances on their remix album 'Abolition Of The Royal Familia - Guillotine Mixes'.
Including mixes from David Harrow, Moody Boyz, Youth, Violeta Vicci, Andy Falconer and more.
Christian Fennesz relays four compelling deep space images from his unique electro-acoustic microcosmos in ‘Agora’, the Viennese artist’s first album since ‘Bécs’ 
Borrowing its title from the ancient greek word for a gathering place, ‘Agora’ finds Fennesz creating highly detailed, alien ecologies of sound riddled with myriad, interlaced dynamics, but each singular in their scope. They variously transition from wide-open to busy, hyper-populated zones of enquiry and back again, but paradoxically enough all come as the result of one man in his spare room, composing inside a pair of headphones.
Change of circumstances meant that Fennesz couldn’t use his usual studio and by necessity was limited to what was at hand in his spare bedroom-turned-studio - just like the old days when he wrote his first record. These limitations pushed him further to explore worlds of possibility contained within his guitar and computer, with drily functional titles such as ‘In My Room’ invoking ideas from both Alvin Lucier and J.G. Ballard to explore vast realms of reverberant, imaginary space, while ‘Rainfall’ feels to emulate a lush spring downpour over bust city streets, all splitting greys and oil and concrete reflection, and ‘Agora’ radiates into every corner of the synthesised soundfield with gloriously detached, isolationist effect, alongside the bittersweet then and coruscating texture of ‘We Trigger The Sun’.
Jim O’Rourke pushes Apartment House to test their limits via an open-ended score for string trio requiring the players to whistle and sing wordlessly, with absorbing, minimalist results.
Commissioned by Anton Lukoszevieze of Apartment House, who also perform the work with exacting patience and nuance, ‘Best that you do this for me’ is a 50 minute work for string trio (featuring Lukoszevieze alongside Mira Benjamin and Bridget Carey) that also requires the performers to work out of their comfort zones, with additional instructions for them to whistle and sing, as well as play their instruments (violin, viola, cello.) The piece was originally performed in a 15 minute iteration for the BBC, but in this new expanded version its wider scope leads the players to unpredictable harmonic junctures as they work their way around its cyclical indications, overlapping into achingly mournful and sighing cadences with a glacially time-slipping quality.
O’Rourke was inspired to incorporate whistling and singing into the piece after re-listening to a few choral works by Martin Smolka, and was struck by how this relatively simple and always “on hand” instrument is rarely used. In the context of highly skilled instrumentalists such as Apartment House, the simple gesture of whistling and singing becomes a radical one, encouraging the trio to offset and balance their skills and intuition in a sometimes unnerving way that lends the work a beautifully uncertain character, unfurling like an archipelago of islands illuminated by moonlight and punctuated with gulfs of dark, pregnant silence.
The fleet fingers of harpist Rhodri Davies pick out connections between Gaelic, West African and Far Eastern traditions - to our untrained ears at least - on the 3rd album via his Amgen label
Making up 1 part of 4 to his ‘Pedlar’ boxset, ‘An Air Swept Clean of All Distance’ was recorded in 2014 at Blank Studios, Newcastle, and exec produced by folk chief Richard Dawson, and adorned by a continuing series of artwork by Anna Peaker. It skips back along the timeline to what sounds like happy times, where Davies’ playing fizzes with typically inventive, optimistic, and timeless beauty, which, if you shut your eyes and try a little, could almost hail from any point in the past half millennia - although we do wonder if they really shredded like this back in thee day.
He’s really going for it on this one, so understandably the tracks are mostly succinct, as who the chuff could keep up this sort of energy for any longer?! They come on In flurried waves with ‘soaked ruins of a raft’ and culminate in him expending his energies on the longest, final piece with the hyper jabs of ‘on the outer reach of the unending’, with numbers such as ‘In Distortion-Free Mirrors’ attacking like Rian Treanor doing Korean classical music at hi-speed, and the breathless, mellifluous flex of ‘continues, placement’ recalling Kadodi styles we’ve heard on Nyege Nyege Tapes. But of course he makes room for slower, serene moments, diffracting the pace thru more spacious and lilting parts like ‘Each clear and sudden drop itself’ and the anticipatory pauses of ‘fingers pluck played on by’ that temper the album’s gushing sequence.
Jangling, mostly instrumental bluegrass and country variations from Chicago-based acoustic guitar maestro Bill MacKay and Durham, North Carolina-based Appalachian folk player Nathan Bowles. Quite lovely!
'Keys' is MacKay and Bowles' debut, and is a plaintive horseback ride into American folk music. Both players have trad chops, and flesh out their playing with virtuoso flourishes giving their music a haze of Fahey-esque experimentation. But this is more melancholy and more immediate than anything Fahey ever meditated on - MacKay and Bowles aren't afraid of scratching the country itch and teasing out a tear or two.
Imagine Bonnie "Prince" Billy covering the "Oh Brother, Where Art Thou!" soundtrack and you'll have some idea of where this one's headed.
More bizarre and brilliant outsider funk from fine artist and latter day renaissance man Lonnie Holley.
Modern Americana pioneer Matthew E. White teams up here with sculptor, educator and later-life musical hero Lonnie Holley to rock through a set of eccentric psych-funk-gunk that should appeal to anyone who has been fascinated by Holley's last few records. Holley's idiosyncratic lyricism is the draw here, as he deconstructs the issues du jour - selfies, reality, outer space, psychedelics - with wit and undeniable style. But White's musical contributions make this more than just an odd aside, if you've enjoyed Holley's recent run ("MITH", "National Freedom") then "Broken Mirror" shows that Holley has more mileage yet. Not bad for someone who released their debut album at the age of 62 eh? Southern funk at its weirdest and wildest.