Classy debut album of ephemeral ambient-pop and groggy rhythms from SSIEGE, an Italian producer lending his romantic touch to Andy Lyster’s ace YOUTH label. Recommended listening if yr into 1991, Casino Vs Japan, Lorenzo Senni, Black Zone Myth Chant, Ryuichi Sakamoto.
Adding a snugly seasonal vibe to YOUTH following their cranky and cinematic turns by FUMU, Hoshina Anniversary and L. Lund in recent months, SSIEGE explores an endearingly warm and melodic style of electronica to soundtrack transitions from summer to autumn.. For anyone who picked up on SSIEGE’s vinyl outings for Rome’s La Beauté Du Négatif, it’s nice to hear him expand those styles into more expressive, weightless zones on the longer format release.
Crafted for an end-to-end listen, rather than a collection of DJ cuts, the album flows with an enchanted/enchanting quality from the plucked pointillism of ‘Turbe In Sviluppo (version)’ to the weepy, 1991-esque gauze of ‘Miss You’, taking in the vulnerable peal of ‘A Man’ alongside what sounds like The Cure jangling with Black Zone Myth Chant on ‘Angelo Azzurro’, and some deft yet detached drum machine workouts in the noirish junglism ‘Chromatic’ and the listing ambient breaks of ‘Swan’.’ However the best parts are those ambient bridges that join it all together, as with the puckered introspection of ‘Biscotti 180’, the angelic coos of ‘Regina’, or the seductive iridescence of works such as ‘Boxe’ and ‘Delete Instagram.’
Moor Mother heralds her 4th and strongest solo LP with ‘The Myth Hold Weight’, a preparatory EP including Saul Williams on one of four album highlights
On ’The Myth Hold Weight’ Moor Mother holds the listener’s gaze to the fact the western world is largely built on slave-made cotton and sugar - hardly more apparent in Manchester, aka Cottonopolis, or Liverpool and Glasgow’s Tate & Lyle links - over subtly affective ambient backdrop, while ‘Mother’s Clock’ is a a short sharp shock of puckered electronics and tribal drum drive, then ‘Black Flight;’ catches her slugging out a Suicide-esque dancefloor rattler accentuated with pointed rap and countered by ice cool verse from Saul Williams, before ‘After Images’ hits hardest with a JK Flesh-like slice of mentasm-laced, hardcore blues rave stomp.
Hutchins puckers up a mix of melancholy electronica and effortless, rolling club rhythms in a follow-up to his UIQ 12”, Dale Cornish split, and the inverted dance music of ‘Clubeighteen2thirty’
Playing up to his bittersweet side, the tracks increase in literal and metaphoric optimism between the deep blue swang of ‘(Can’t) Find Love in the Club’, the looser whirr and curious party parry of ‘(Won’t) Find Love in the Club’, and, ultimately, the search ’n screw mode of ‘(Let’s) Find Love in the Club.’
Debut turn of shadow-dancing tribal grooves and hypnotic electronics from J. Chrysalis for the UK’s globe-trotting Blank Mind label
Both touted by Ben UFO on his Rinse show, ‘A Kind Robin’ syncs dusty, hiccuping drums and avian lead with a tight, in-the-pocket hustle and slow building arrangement that sounds like Joe meets Carl Craig, whereas ‘Latent Space’ turns cues from Durban Gqom into a sort of psychedelic stroller that swaps Gqom’s dark energy for something more limpid and dreamy.