Feted selector-producer Intergalactic Gary makes his debut under that name alongside Greek artist Pasiphae on the Made Of Glass EP with Amsterdam’s Biorhythm.
Decades of dancefloor knowledge are turned to their advantage in four tracks, seducing with the silvery thread of melody and moody blue bass chords of Made of Glass, and proceeding to drag us somewhere muckier with the Ra-X/Drvg Cvltvre-style slow thud of Disconnected, and a more rasping, distended beast called Second Term that comes in two squashed but delirious versions compatible with Ian Hicks’ aces for Clan Destine.
Jerusalaam forms the 4th and final vinyl disc from Muslimgauze’s sought-after Tandoori Dog boxset to arrive on CD, now nearly 20 years since the original release.
The vast majority of Jerusalem slots ruggedly into Bryn Jones’ unique category of salty, tetchy drums ’n dub noise, with some rude highlights found in the dense but light-headed pressure of All The Stolen Land of Palestine and the convulsive flurries of tabla and flute that reshuffle themselves between ready shocks and rolling slow house in Sufiq Gulf Breeze 1-2.
However, the final two tend toward that Muslimgauze niche of crisp, prickling electro-dub and atmospheric collage, spreading out for 14 minutes of moving, hot-stepping designs in Unused Return Of Black September Track 1, and farther out into unmetered electro-acoustic zones laced with floral arabic strings and sparse electro pulses under a shifting patina of voices.
Make sure to check those last two!!
Raster-Noton bring the excellent, erratic Unun series to a close with some of Jesse Osborne-Lanthier’s most reactive and ‘floor-penetrating productions; bringing elements of EDM, trance and hooj room choons to the boil with a steadfast tolerance for dancefloor/electronic extremity and physicality.
Since 2010, the Berlin/Montreal-based musician has steadily carved a niche between the eyes of modern styles in an almost exponential exploration of styles, persistently short-circuiting dancefloor conventions with a combination of avant-garde strategy and extreme sonics which has lead to some of the most fascinating electronic music in recent years for the likes of Rabit’s Halcyon Veil and Shapednoise’s Cosmo Rhythmatic.
Make no mistake, though: Unalloyed, Unlicensed, All Night is Osborne-Lanthier’s most direct and up-for-it material; a masterful, off-the-cuff demonstration of how to mess with modern templates, using online production tutorials as the jump-off for a quartet of dancefloor mongrels riddled with EDM’s most virulent, effective tics.
At the front Blackwell Dynonetics’ tight, fractal knot of spasming dub chords and footwork spatter comes off like Second Woman linking with Rian Treanor, before The Zika Slam revs ups like some visceral Powell and EVOL collaboration, and the crushing swagger of Integrated Sensor Is Structure sounds like Lurka duelling with Byetone, leaving the dembow bounce and escalating hardstyle synths of Lick And A Promise to ramp like some fierce Kamixlo or Florentino winner.
This one is lands hard on all the right buttons. Can’t wait to hear them loud in the club.
At last, a chance to hear the debut album of motorik jags from Stereolab’s Tim Gane and Joe Dilworth, together with Holger Zapf as the Cavern of Anti-Matter power trio - originally issued on Berlin’s Grautag Records, now reissued on Duophonic.
Revolves a heady rush of references to Bowie’s Chant of the Ever Circling Skeletal Family, Mahogany Brain’s Bloody Hide and Seek in The Rain and Hot Elbow, and the front cover to Heldon 6 shaped into 16 high velocity, high sheen rockets bound to ignite the tastes of classic kosmiche and psych fiends.
Includes a Move D collaboration as part of L’Amour Fou
Smallville share a shimmering cross section of deep house tracks from their network of family and friends. Your Psychic Advisors are Makybee Diva with the warm and easy beatdown of Untitled; Snad with the creamy immersion of Exceprtz; a sweetly tactile acid ace from Move D, Benoit Bouquin and Marco Wollenberg’s L’Amour Fou trio; and some tech-house hustle from Arnaldo.
After reminding us of his curatorial genius with a reissue of Frank Dommert’s Kiefermusik on his Pacific City Sound Visions label, Spencer Clark (The Skaters, Monopoly Child Star Searchers +++) surveys The Stimulated Australia on his first ever real-name release, proper.
We’re not sure what has prompted Clark to use his government name, but it would appear that this is perhaps the truest representation of the sounds in his swede; a place “…where lorikeets and ocean waves serve as a counterpoint for beautiful,light background airs”, and where “the recorder cunningly observes a building where the tourist forages, and fascinates the sounds of lands that are forever spiritual to the native”, whatever the fxckity fxck that means.
As you might hope for, or expect, from a Spencer Clark release, the levels of ambiguity are subtle but playfully high on this one. We’d point to the knowing discrepancy between the spelling of the album title, The Stimulated Australia, and the track title The Simulated Australia as a clue; is its 22 minutes of lapping waves, cicadas and piercing lorikeet calls a manufactured fantasia or a real document? Or does it even matter? Likewise with Study For The World Of Shells - are we listening to a room recording of a drifting synth performance layered with location recordings, or simply immersed in a field recording from an aquarium in Belgium with a sweet ambient soundtrack?
We leave those questions for you to answer, and add your own, but either way this is a satisfyingly liminal, detached, and almost voyeuristic listening experience. A barely there but vital addition to Clark’s catalogue.
Who knew Muslimgauze did a killer line in funky house and techno?!!?!?! Check the slamming swagger of ‘Opulent Maghrebi Meze’, ‘Because He Had a Mustache and Beard, They Thought He Was an Arab’, and the NYC-style swang on ‘Abu Kaff, Your Guide Around The West Bank Bedouin Shack’. Big tip!
"Unsurprisingly for an artist as prolific and strident as Bryn Jones was, the flood of material he sent to labels and compatriots was not always carefully categorized. Also, sometimes he would be so eager to release material that if things didn’t happen fast enough he’d just send in another tape. And that circumstance is how you wind up with a fascinating oddity like Mohammad Ali Jinnah. The result is a release unlike anything else in Jones’ discography.”
Cleveland, OH’s Prostitutes is back on it for Diagonal with a brutalist dress-down called Dance Tracksz, firing some of his most vital material since the Psychedelic Black LP which first caught our attention in 2012.
However, four years on, James Donadio adoes away with the more sentimental parts of his debut in favour of bear-hugging the ‘floor with his most direct and effective dance music to date.
This is industrial body music schooled with a bluntness and unpretentious agenda that money can’t buy, fundamentally built to get you unzipped and bouncing your body off the speakers, walls, other bodies, matched only for impact on his catalogue by the likes of Shatter And Lose, and Ecstasy, Crashing Beats And Fantasy, which perhaps not so surprisingly, also appeared on Diagonal.
Like those EPs, there’s an absolute rejection of shiny tricks. From the screwface PCP slammers Ah Yeah and War Goes On to the pure industrial street funk of Bottle and the riotous jungle-tekno of Prey, there’s no mistaking that he’s bang up for a rave, but even by the end of the night, by the time I Luv U Bruv - his admission of affection for label boss, Powell - proves that even the big radgy guys called Prostitutes go soft every now and again.
A big ol’ party slug for fans of Powell, Beau Wanzer, PCP Records, Container...
Posh Isolation’s elusive Age Coin duo impress with the cranky post-techno deviation of Performance; a lean, nervy and dread bass-fuelled follow-up to their Perceptions 12” - reissued by Luke Younger’s Alter in 2013 - and interim excursions in their other projects, inc. Vår, Marching Church, and the excellent Yen Towers.
Shifting gear from the Perceptions 12”s tunnelling dynamics to more fractured and unsteady structures, the sound of Performance is perhaps best described as a more mutant, buckled and schizzy adjunct to Yen Towers’ garage-techno torque.
Diving in with the stone-carved bass pendulation of Espirit, the session turns to insectoid 2-step and X-Files dub themes in Domestic, before sinking into the Mohammad-like mire of Monday and skimming the effluent roil of Raptor with flinty shards of percussion. A moment for reflection follows with the starkly processed solo keys of Damp, and they sling us back into the pit with the mongrel dubstep of Domestic II, saving the best for last with Headron’s distended bowel movements.
Newly availed as a download, Permissions was written and recorded by ambient innovator K. Leimer in 2012, with crucial input in the edit, mix and post-production by 12k’s Taylor Dupree.
Compared with what we know of Leimer’s explorative early work, Permissions feels like a sublimated expansion of his electro-acoustic textures, rendering 16 tracks, 71 minutes of shimmering tonal mingle and diffusion best consumed in low lit and laid-back conditions, especially if you like 12K or Home Normal releases.
New music from Simon Green aka Bonobo.
"A contemporary of artists such as Four Tet, Jon Hopkins and Caribou, Bonobo also counts among his famous fans the likes of Wiz Khalifa, Skrillex, Disclosure, Diplo and Warpaint. His 2013 album “The North Borders” went Top 30 in the UK and was number 1 in the electronic charts in both the US and UK. In support of that record, the 12-piece band Green runs played 175 shows worldwide, including a sold out show at Alexandra Palace. Bonobo has built a large, loyal and engaged global fanbase: over half a million album sales and over one hundred and fifty million streams on Spotify point to the levels of success achieved by this quiet, self-effacing man.
It might be difficult to imagine it, but “Migration” will take his beautiful, emotive, intricate music to an even bigger audience. “My own personal idea of identity has played into this record and the theme of migration,” Green explains. “Is home where you are or where you are from, when you move around?” The personal, it seems, can also be universal.”
The xx’s anticipated third album, ‘I See You’, is the follow up to the band’s two previous albums ‘xx’ and ‘Coexist’.
‘I See You’ marks a new era for the London trio of Romy Madley Croft, Oliver Sim and Jamie Smith, both sonically and in terms of process - while ‘xx’ and ‘Coexist’ were bothmade in relative isolation in London, ‘I See You’ was recorded between March 2014 and August 2016 in New York, Marfa TX, Reykjavik, Los Angeles and London and is characterised by a more outward-looking, open and expansive approach.
Produced by Jamie Smith and Rodaidh McDonald, ‘I See You’ is The xx at their boldest yet, performing with more clarity and ambition than ever before."
Dasychira is South African artist Adrian Martens living in NYC. Futuristic half insect half human beats with stunning vocals by New York native Embaci.
From Martens: “Immolated is the product of my experience adapting to new environments without having any safety net to hold on to. I wrote this project between New York, Berlin and Johannesburg and it felt like a regenerative process, each place had a different effect on the way the music would come together. Having few points of stability forced me to sacrifice convenience for something new and unknown. Finding identity in a new home is a difficult process to define, and I wanted to explore that through the idea of an insect being analysed both physically and spiritually as their lives work in continual transient cycles. Insects have always been bizarre creatures to me, they're like living aliens that can constantly regenerate and morph themselves - and their process of physical reincarnation is parallel to my feeling of inner adaptation to restabilize myself when I find myself in a new environment. The most superstitious occurrences I've had are with insects are shrouded coincidental beauty or mystery. This superstition feels like an appendage of me very active when I make music, and I was fortunate enough to bring it alive in the compositional process and to meet wonderful people to guide it in a natural direction. Working with Dviance, Embaci and Falty DL in different locations to put this record together was a blessing, many wonderful friendships came out of this project for me.”
The Grey Catalog departs from Leimer’s typical obsessions with understatement and homogeneity to range freely across rhythmic, melodic, and disassembled forms.
"Incorporating percussion, electric guitar and bass as well as found sound, digital and analog synthesis and sampled instruments, The Grey Catalog spins off multiple intimations of some earlier works; particularly Closed System Potentials, The Neo-Realist (at Risk) and The Useless Lesson. Compiled over a two-year period, as diverse as the pieces are, they are also related by a shared generative technique and a shared library of voices and processing. The result is an album of highly personal music, restless and shifting forms, with melodic passages drawn over sets of self-regulating sources and shaped by approaches refined over decades of occasionally stumbling across something that might work."
Two years after the release of his debut album ‘Tremors’, SOHN is back with ‘Rennen’.
"In between records, the London-born artist has traded Vienna for the warmth of Los Angeles but the influence of his former home still lingers (Rennen is a German verb meaning ‘to run’). Resuming a nocturnal schedule - as he did with ‘Tremors’ - SOHN spent a month writing alone in northern California, recording until the morning most days.
Including singles ‘Signal’ and ‘Conrad’, the ten songs of ‘Rennen’ are confidently direct and focused. Consciously exercising restraint, SOHN has used only a handful of musical elements on each track, eager to allow the spotlight to shine onthe vocals, melodies and rhythms. An ambitious exhibition of both his personal and artistic growth, ‘Rennen’ confidently displays the evolution SOHN has undergone in just two short years.
It’s also a starter’s pistol ringing out loud and clear with an unmistakable message: it’s time to run again and he’s ready."
Letta serves Coyote a 2nd LP of tenderly weightless grime and R&G one year since his sparkling Testimony debut, bringing Ryan Hemsworth, Mr. Mitch and Fielded along for the ride.
Hailing from Arizona via Skid Row, LA, Letta’s take on UK grime, using similar instrumental palettes but in a more textural, rather than angular manner, much like Rabit’s, feels more spaciously detached and impressionistic than his UK counterparts, almost to grime what Burial was to dubstep, proper.
The album unfolds like the poignant soundtrack to a teenaged sci-fi thriller, full of shatterproof helium voices, minor key chord changes and a filigree blend of fleetingly optimistic and brooding emotions helmed in road-ready rhythms.
One year on from Tribal Realm, Filter Dread aims his 2nd volley of deconstructed jungle, garage and grime with an ‘ardcore twyst on Unknown To The Unknown.
In Tribal Data he shatters the ‘nuum timeline to a mosaic of interrelated style ’n pattern, stepping from the 8-bit 2-step of Cruiser thru the spasmodic jungletekno of Expansion to a gully ’03 grime flex on Kicking and colliding with South London bass in Moon Beams.
But the best is reserved to the other end of the album, with the pinging dynamics of Pinball a big highlight, and Sea Spray knocking us sideways into cubist sublow, whilst Snow Click meshes original Eski templates with cold ambient strokes and Tribal Data dips to a sort of neuro-D&B-meets-8-bar clash.
Forceful, noisy techno momentum from Dublin’s WHOK, ploughing eleven lines of murderous bass drums and clambering, discordant electronic textures imagining The Dead C jamming with Surgeon.
For maximum, red-lining madness and bone-grinding effect, get on the cloven-hoofed beast, Rattle & Sturm-1, the harness-yanking beatdown of Karage-1, and their thistly rutter, Lysurge.
RIYL Container, Prositutues, Russell Haswell
Debut album of melancholy electronica. Recorded at Valgeir Sigurðsson’s Greenhouse studio in Reykjavik, Iceland (home to his Bedroom Community).
“A ‘soft error’ is computer language for a faulty occurrence in a digital memory system that changes an instruction in a program or a data value. When associated with music making, it’s a name that inevitably suggest the notion, or even celebration, of happenstance and serendipity, and that’s certainly part of the spirit evoked by Mechanism. A largely electronic pairing, Soft Error are otherwise known as Tim and Rupert, both of whom have musical backgrounds in dance music / DJ culture and composition for film, theatre and TV respectively. Soft Error, however, represents a thrilling new artistic beginning rather than being simply another musical ‘project’.
Mechanism offers a fresh and singular brand of musical intrigue by reaching back and forward simultaneously – drawing from the innovative, propulsive thrum of 1970s Krautrock and the grainy textures and tonalities of the BBC Radiophonic Workshop on one hand, the symphonic, futuristic soundscapes of composers like Cliff Martinez, John Carpenter and Jon Hopkins on the other.That said, there is also something wonderfully timeless about the nine, finely wrought essays on Mechanism, across which synthesisers, keyboards and drum machines are deployed for their sonic and emotive possibilities, rather than as a nod to any particular niche or trend. Indeed, Soft Error demonstrate a facility for fashioning both intimate textural detail and strong melody, often in the same song.”
With Beneath the Mirrored Surface, Marc Barreca continues his quest to create deep and shifting aural spaces by merging the abstract rhythmic warmth of early analog synthesis with the complexity and timbral beauty of acoustic instruments and natural sound.
"For this release, Barreca extracted and reshaped rhythms and textures from field recordings, decades-old world folk recordings and acoustic instrument loops. These sources were first converted into MIDI data using Ableton Live and then transformed and manipulated with Max/ MSP. Hundreds of these source clips were then blended and arranged with layered and looped digital synthesizer and sampler tracks. The result is a dense, rich world of refracted light and shifting shadow. Mastered by Taylor Dupree.”
In Tongues is the exquisite sophomore album by London’s Soda Plains; a variegated ten tracks brimming with nods to sublime Japanese ambient electronics, chamber-like baroque melodies, Burial-esque textured field recordings the kind of crafty rhythms bound to light the interests of those into Príncipe, M.E.S.H., Kamixlo, Hiele, TCF, Jesse Osborne-Lanthier.
For highlights, look to the discombobulated sino-grime of Manto; the latinate baroque melodies and braindance rushes of Para Dois; a brilliant piece of militant snares and courtly sashay in the Coil-esque Rotina; and, at its tuffest, a slamming winner named Espalho Meu Passo.
Prime balearia from down under, or Melbourne’s Tornado Wallace to be precise.
His follow-up to the Falling Sun 12” with Music From memory’s Second Circle follows that 12”s vibe with a clutch of dusky dancers, at best in the richly layered atmospheres of Lonely Planet and the pseudo-ethno feels of Voices, but carrying itself beautifully, elegantly throughout. Even the most sun-leathered balearic type will have to concede; it’s pretty damn lush.