Back to roll up and smoke your chakras, Ras G & The Afrikan Space Program found more state funding for their esoteric equivalent to NASA, with Stargate Music relaying their research from a hotboxed studio mission to far out cosmic coordinates.
Unfortunately their research has been dismissed by NASA, but that’s just because the suits were all too uptight to really attune to the subtext of their recorded findings, which, if you listen close enough, and in the right mental state, actually provide the grid references to myriad stargates on earth which could save NASA a lot of money on rocket fuel. Then again they could just read the following press release:
"The womb is The Stargate of Humanity” says Ras G, relating to the concept of his latest proper full-length - an astral ode to woman. "Stargate Music is a record that I livicated to the Womb-man...to the Vagina, The Stargate from which beings emanate life on this planet. I gathered these sound pieces and presented it as a reflection of the life cycle of beings on this planet."
G has always been more to us than an influential L.A. beatmaker, but rather the luminary with an infectiously heartfelt zero-fucks-given philosophy towards raw experimentation in the Los Angeles underground producer scene since the early 2000’s.
"From The Primordial Water Formation we flow thru The Stargate....and one's great journey reconnecting and returning to the sweet nectar that is The Stargate....and this is the soundtrack to the journey." -Ras G”
Dais Records unveil the first ever live and rare vinyl collection from storied New Zealand post-punk outfit Nocturnal Projections.
“Inmates In Images” comprises the band’s best and rare material recorded right off the board at key gigs, capturing the unique and unbridled energy of the NPs. Inmates & Images (DAIS113) is issued alongside the vinyl studio collection: Complete Studio Recordings (DAIS112)
Formed in Stratford, near New Plymouth, New Zealand in 1981, Nocturnal Projections was the explosive project of legendary and prolific brothers Graeme and Peter Jefferies (who would later form This Kind of Punishment before launching their solo careers), who along with friends Brett Jones and Gordon Rutherford, created some of the most energetic and influential avant-garde punk rock to emerge from the country.
Largely ignored during their tenure (but revered and referenced in the years after their breakup) and often compared to UK contemporaries like Joy Division, Comsat Angels, The Fall, or Wire, Nocturnal Projections stood well apart - never enjoying the luxuries of unlimited studio time, music videos or international fame, the NPs possessed a driven, rough-hewn serrated edge that cut through the lot comparisons to the UK post-punk exports of the era. They were ahead of their time, completely singular, and for those that had the benefit of seeing Nocturnal Projections play live – formative, with a dedicated cult following to this day.
As residents of New Plymouth’s Lion Tavern during their first year as a band, they perfected their soaring, impactful live set locally (often as the only band, without an opener and 3 hours to fill!) before heading off to Auckland in January of 1982, performing with bands like The Fall, John Cooper Clarke, and New Order at venues like The Mainstreet Cabaret, The Rumba Bar and Reverb Room. Over the next two years in Auckland the band would record 3 vinyl records (collected on the companion release to this record, “Complete Studio Recordings” DAIS112), write nearly 100 songs and play over 150 gigs.
“Inmates In Images” pulls the best of the best from board recordings of live sets between 1981 and 1983, including the never-before-released tracks: “Blank Faces” and “Late Night”, along with unheard versions of previously released songs - and includes Peter and Graeme’s song “Walk In A Straight Line”, written in October of 1980 and originally intended for their earlier band The Plastic Bags.
Nocturnal Projections are hard to pin down: bright, slashing, and prominent guitars with driving, solid basslines and drums in tight lockstep, all with Peter Jefferies’ urgent signature baritone vocals soaring alongside – the result is still perhaps the most energetic, unique, and fresh music to ever emerge from the post-punk scene. This collection is must-have for new listeners and existing NP fans, preserving the legacy of New Zealand’s groundbreaking legends.
We were better live. If you went to the shows that’s when you really got Nocturnal Projections. What you have here is an attempt to document those performances. Much debate, trawling of archives, and careful re-mastering has gone into this set. If you weren’t there, then this is probably as close as you’re gonna get to it. If you were, then I hope this album brings back some memories. Certainly works for me.
- Peter Jefferies. December, 2017”
After linking with Charles Hayward and picking up new followers in 2017, Tomaga make their first outing of this year with Music For Visual Disorders, featuring Valentina Magaletti’s meter-defying drum patter threaded across thistly, abstracted soundscapes and keening drones and bubbling electronics by Tom Relleen.
“Tomaga's Music For visual Disorders comprises nine tracks of intuitive automation, compiling compositions that have been used by different artists and curators within the context of works of visual art, dance and exhibitions. Tomaga members Valentina Magaletti and Tom Relleen use a multi-instrumental palette, conjuring up a musical sphere that touches on industrial music, minimalism, ambient and a gentle, at times inward, at times outward, take on krautrock's motorik.
Tomaga's music is deceptively moderate as its core revolves around intuitive and gentle pulses. Its experimentation lies in its development as it is often driven by abstract images and intentions and even allows moments of soft-spoken absurdity. Music For Visual Disorders is a highly contemporary take on avantgarde and classic contemporary music. It is Tomaga's first outing on Meakusma.”
Black Mass do cybergoth industrial metal for Sacred Bones
Launching the full pelt beats of Odd Scene and Shit Luck to fling us back to the back-rooms of metal club-nights in the early ‘00s, soaked in brown ale and the musk of metalheads. They’re not pissing about.
The heeds of Glasgow’s 12th Isle keep their vibe gloriously off-map with Cru Servers’ debut LP batch, Blubber Totem. After touching down on a Bomb Shop 7” and self-issuing a tape in the last 5 years, this is the CS brothers’ most substantial and definitive recording to date, relaying an experience akin to a waking dream situated in a different star system to our own.
Plotting coordinates in a zone familiar to Dices and AEM Rhythm Cascade’s Thoughtstream or Belgium’s Innercity, the Cru Servers duo disembark with hieroglyphic electronics of Incubation on Ram Skins, then tilt into 100bpm muggy chug with Shot To Life, before getting buck wild with the severely warped garage torque of Dorito Rook and a slice of fluoro industrial trance in Ark Bile Top Ups recalling Black Zone Myth Chant’s egyptian fantasies.
The recursive wormhole, Deith 2 Hansy prangs out like Rob Hood on a psychedelic secret mission, slopping yer mind into something like Lorenzo Senni in gravity-less space, but they bring us back to disco firma with Accursed Share, only to let it all go with the floppy body of Yellow Domes & the Dawn.
Reissue of prime Afrobeat cuts by Mushapata, a former boxer whose later experience as bodyguard for Bob Marley’s summer 1980 tour of France lead him to covert to Rastafarianism and start making music.
Saba-Saba Fighting or “fight for peace” was recorded between 1980 and 1984, and draws on Mushapata’s longhand love for the Blues, Soul and Rocksteady he grew up listening to in The DRC, before moving to Lyon in 1975 to pursue career as a boxer.
Up top he comes off like a possessed Fela Kuti over the swingeing drums, horns and guitars of his Afrobeat ace Muanago Yé-Ye, then the reggae influence comes in on the Afrobeat-reggae hybrid Kambere Mushimbe, and much stronger on the lilting Reggae-soul of Mudongo Wangu, which is gilded with some really sweet On-U style digital inflections, and at a loping, sexy Reggae-disco title on Zambe Aponiyo.
Second Woman chase the mutable dynamics of their killer EPs with Spectrum Spools into four grid warping new works for Tresor. If the idea of Basic Channel meets Gábor Lázár in deep space floats your boat, this 12” is an essential purchase!
Comprising Turk Dietrich (Belong) and Josh Eustis (Telefon Tel Aviv), Second Woman have forged headlong new tangents for techno over the past 2 years with an acclaimed début album and 12” which pushed the techno envelope at captivating new angles comparable to work by Mark Fell, Gábor Lázár or Rian Treanor as much as Basic Channel, Vladislav Delay and Jlin.
On the pair’s 4th release, their first for Tresor, Second Woman work in flux between warped and relatively conventional styles. The pendulous electro-dub of Instant I kicks up a blinding fuss of over-pronating rhythm and glassy dub FX tending to their experimental side, which they also explore from more spacious perspective in the weightless, unmetered dub matrix of their closing shot, Apart II.
The other tracks are patently techno in design, but unafraid to f*k with the format. On Instant II they anchor in deep dub techno terrain best compared with Porter Ricks’ seminal early work, but with addition of sweeping, balletic hi-hat trills, while Apart II smudges dub techno contours with an intoxicating brownian motion.