Ah, The English Beach, where sewage meets our battlement-littered coastline and rabid fighting dogs shit on your sandcastle, where posh surfer boys frolic in churning effluence and sweaty burger vans flog choc ices to feral kids and their pished parents. A bounty of inspiration for Oliver Ho aka Broken English Club, then?
Now on his 2nd album under that moniker following Suburban Hunting  for Cititrax, with a handful of interim 12”s on Death & Leisure and his Jealous God co-op, this time he spreads the muck thick and sticky over two slabs, flinging us from the Genesis P-Orridge-as-lifeguard holler of Stray Dogs to the boy racer techno throb of Breaking the Flesh, taking in end-of-the-pub-crawl nausea with The Sun Rising, before drifting into Plague Song’s industrial scrublands where you’ll meet the priapic razz of Pylon and a salty lament named Rust Ballad starring Blood Flower.
By now you’ve definitely got sand in your crack and the panda pop’s kicking in, priming for the tribal fire dance of Wreck and the gothic EBM of Carrion, before Concrete Desert feels to emulate the sound of an arcade under attack from laser-shitting seagulls and the electrified Wire Fence gives access to the whirligig giddiness of The English Beach proper, and the seaside town zombies come out to play on Last Signal.
Put a f*cking flake in it.
Soundway come with a very necessary reissue of Jay U Experience’s Nigerian psych-funk-reggae blinder, Enough Is Enough after building dancefloor intrigue with his Some More peach on the Nigeria Disco Funk Special: The Sound Of The Underground Lagos Dancefloor 1974-79 compilation.
First appearing on EMI Nigeria in 1977 and now available to the world at large, it’s clear that Some More wasn’t the only belter this LP has to offer. From the most infectious stripe of swaying reggae soul in Reggae Deluxe to the funky horns and disco strut of Get Yourselves Together, thru the hard bitten psych-funk of Enough Is Enough and the plangent, distorted flares of Baby Rock, this is 100% dynamite.
Heads are seriously going to light up for this one!
dBridge alloys with German D&B producer Kabuki for a super slick and taut set including smart input from Cooly G, Addison Groove, V.I.V.E.K. and Stray.
In duo they step off with the future gangster swagger of Lose Yourself, framing achingly tight half-step with approaching sirens and jazzy downtown chords. Stray comes on board with diamond-tipped snares hardwired into the ’93 hardcore-meets-footwork flex of With U, then Cooly G eases off the rugged lurch of Tune In right with proper, sauced-up R&B vox.
Addison Groove lends some dusky footwork soul flavour to the scooping subs and cowbell-driven footwork patterns of Dot Hot, and you can trust V.I.V.E.K. brings colossal sub to the table on the bastion burial of Dem a Sleep.
Italy’s Mondo Groove give a bonus life to K. Bytes’ 8-bit disco bonanza, I Adore Commodore, which was originally recorded and issued in 1983, one year after he released Computer Disco as Marcello Giombini.
Everything from the screenshot artwork of a robotic bloke and pals, to the LP’s jaunty, energetic tunes, is inspired by Giombini’s love of computers and video games, as he was a proud early owner of an Apple II Europlus before converting to the Commodore 64 model which inspired this LP, largely due to the fact it provided him with three independent music generators enabling him to realise his elaborate sound.
So what better way to express your love of video games and computers than a suite dedicated to their soundtracks, taking the names of his favourite games such as Le Mans and Space Invaders as cues for a bleep fest of the funkiest kind with bubbling Italo treats such as Solar Fox, the cosmic tension of Jupiter Landing and an absolutely wigged-out piece of cascading arpeggios in Sea Wolf.
On yet another stunning number from Unseen Worlds, Carsten Schulz aka C-Schulz arrives in the wake of their incredible reissues of Carl Stone and Laurie Spiegel records with a mind-bending batch from the fecund experimental nexus of ‘90s Cologne.
With C-Schulz releases scattered between Frank Dommert’s Entenpfuhl label - where he debuted in the same year as Jim O’Rourke - and the likes of Schimpfluch, Extreme and MoM’s Sonig - including many alongside probing input from Markus Schmickler - it’s maybe fair to say that C-Schulz’s distinctive oeuvre and artists genius has been sorely overlooked, until now, that is.
Frühe Jahre contains 20 wildly diverse examples of C-Schulz’s genre-agnostic agenda drawn from the early phase of his small, but arguably perfectly formed, catalogue between 1989 and 1991-ish, documenting an artist who patently dared to go beyond his classical training and explore new frontiers between early techno and acousmatic music, industrial and avant-pop, with something approaching a savant appreciation of juxtaposition and stylistic innovation.
He would later study A/V arts and work for a number of German broadcasters, but it’s worth bearing in mind that Schulz had barely turned 20 by the time Frank Dommert released his debut, Jahre Später, which provides one of this set’s highlights in the psychedelic horror collage of Wir beide sind verwandt, and sets the tone for a wildly, widely inventive overview of his variegated work.
There’s slow-mo New Beat-type sleaze in Barbapapa, along with hi-NRG disco scrabble in Kurze Flitze and industrial swagger on Meister, but just the tip of a large, oddly shaped iceberg, which reaches right down to the warped drone feedback works of Borkup and some messed-up vocoder psychoacoustics in Tri-Top, plus a few canny twists on space age lounge music in Klang and Reis recalling some kinda NWW cut-ups, and head-curdling drone of Himaal.
You could hardly ask for a madder wormhole to fall into. Check without delay!
Weird World popster Jaakko Eino Kalevi and fellow Finn, Sami Toroi aka Long Sam reprise their Man Duo for the first time since Totuuden Rakastajat / Amateurs De Vérité  with a well fermented batch of screwball yacht boogie, krautrock whirligigs and nippy electro-pop kissed with a debonaire Euro/Detroit élan.
Landing somewhere between Junior Boys and Marie Davidson in terms of modern artists, or Ned Doheny and latter Klaus Schulze in classics terms, Orbit turns up some really disco-friendly gems in the scudding synth-pop of What If It Falls with the memorable refrain “push-ups / shaving / moisturiser” and again with the ruder boogie of Vanessa, while you’ll also find low key highlights in the late night grease of Unter Vier Augen and the dry iced gylde of Tanyan Teema and The Middle.
After nearly three years of releases, Swing Ting serve their first vinyl release with Alexx A-Game’s Braver backed with their gorgeous instrumental version. It’s no less than a momentous occasion for the deeply rooted Manchester club night, and hopefully the first of many more vinyl releases from ST!
If you’ve stuck around for the lights-up section of any ST over the last 12 months, it’s likely that you’ve also been sent home glowing to the romantic keys and weightless bass pressure of Braver, which appears here on the A-side in original form, while the flips gives Samrai & Platt room to flex their instrumental chops, one man fondling the Rhodes and the other louchely stroking the chime tree, presumably winking at one another and occasionally raising and chinking glasses.
Sombre solo piano introspection fleshed by strings and subtly gilded with field recordings of a stormy Yorkshire
“Following his celebrated moogmemory project, Matthew Bourne returns to the piano for Isotach. Once again, spontaneity is the keyword where Bourne is concerned, catching on tape that pregnant moment when a piece begins to form.
Skeletal piano motifs, an aching use of space and sparing cello arrangements are deployed to devastating effect. Recorded in his rural Yorkshire home, Bourne’s piano placed to overlook the moors while he works, the album title is a nod to the weather, which played a part in its creation. The recordings took place during what Bourne describes as “extreme weather”. If you listen carefully you can hear the wind and rain picked up on the microphones, the sparse instrumentation providing the calm in the eye of the storm.”
CPU pay dues to their local roots with two rebuilds of obscure bleep techno aces by Sheffield’s Detromental, originally issued on their own label, Rave, in 1991.
Move is real beauty melding misty-eyed pads and chattering bleeps with massive subbass and lagging, swinging drum machines. Love that rusty-chopped Power House sample, which is presumably kept dead trim, as per the original sampler’s tiny memory bank.
Rewind is a more stripped down and ruder example of steel city styles, clearly showing the roots of the bassline garage/niche forms which would later emerge around South Yorkshire.
Bubblign neo-boogie soul, fresh outta Queens, NYC
“Denitia’s Ceilings is a portrait of an artist awakened. After moving to the Rockaways, an isolated, beach-side Queens community, Odigie found herself turning inward for inspiration. She set out to shed the protective layers her career had imposed and rediscover what songs and sounds came naturally to her. She also wanted this story to have her name on it: no more aliases, no more hiding.
Denitia discovered a fellow traveler in Daniel Schlett, the owner of the Williamsburg recording studio Strange Weather. The pair dug through stacks of Denitia’s demos, selecting the choice cuts that would eventually yield the Ceilings EP. The symbiosis between the pair can be felt through each song as Denitia’s sweeping compositions breathe and tighten at just the right moments. It starts with the anger and frustration on “Bound to Happen” where Denitia first faces the illusions surrounding her and shatters them to pieces. The song begins spare as a dirge but then fills with bright, vibrant synths as Denitia begins taking a sledgehammer to the ersatz world around her. That clear-eyed perspective is then cemented on “Waiting” and “Ceilings,” twin tracks that are meditations on the world’s self-imposed separations and segregations that serve as pleas to break down those barriers we unwittingly construct. The EP closes with “Planes,” a track Denitia has described as a song about the “constant longing for more, of wanderlust and desire.” The song’s spine is in its vibrant piano and drum composition that lets Denitia’s voice soar and search, a sign that Ceilings is only the beginning.”
Equal parts brittle rhythmic drive, angular contortions and monochrome minimalism...
"The band shows no sign of compromise whatsoever, being as stark, harsh and stubbornly inhospitable as the strobe-haunted, feverishly kinetic live shows that have earned them a fearsome reputation beyond the rumoured West country of their origins or the urban environs of their adopted home.
Split into seven excerpts and built on powerful repetition, it’s a mind-melding travail into abstraction and abjection which draws on post-punk, jazz, drone, electronic and avant-garde tropes to create an unclassifiable assault that feels oddly timeless - innovative, invigorating and bare-boned yet tapping into a uniquely English lineage that extends back to the 1970s and forward, into the unknown. Nonetheless, whilst some may be able to detect influences like This Heat (whose Charles Hayward approvingly described their sound as redolent of “a barely controlled anger, hypnotic and building from the simplest elements”) or Einsturzende Neubauten, Housewives are carving out their own unique place in the darker quarters of the underground, motivated by a fearsome intensity of conviction and a fearlessly experimental approach.
‘FF061116’ is the latest in a series of transmissions from a collective mindset whose manifestations are as richly rewarding as they are relentlessly intense. Wherever they go from this aural outpost, all intrepid avant adventurers would do well to buckle in for the ride."
Dense, heavy yet deft dub techno from Edinburgh’s Stephen Brown
Serving the Mike Dehnert-esque heft of Sandtext’s gruff subs, gravelly drums and clipped chords across the A-side, then squeezing out the tight, squirmy skank of Wet and the Detroit techno refractions of Back Strobe on the flip.
Strapping EBM hunks of fun from Richard X and Nathan Wilkins’ Cowboy Rhythmbox, throbbing hard with the Goan beach-ready Tanz Exotique, dropping down a gear to the sleazy recoil of Cats’ Invasion, and cantering into the darkrooms with Scream.
Jackhammer industrial grit from Adam-X, back in his downtempo (do not read as ‘chilled’) alias, ADMX-71 for L.I.E.S.
With a trio of sewer dwelling bangers at roughly 113bpm he takes in the rollicking ramrod of Nuclear Hysterics, the gaunt, writhing groove and glowering synth figures of Dire Situation, and pendulous swagger in Neutron Absorber.
The Hardrive bossman chops out six instrumental grime lines featuring guest spots from Swifta Beater, Sir Spyro and P Jam.
Flavours for all grime ravers, taking in the scowling drill hybrid, Infrared, a bolshy skanker Brass Off, and the frankly avant percussive madness of Time Piece on solo terms, next to a strong collaboration with Sir Spyro in TBC, lit up with jazz sax and bottomed out with bruising subbass in a really classy high water mark of 2017 grime.
Princess Nokia’s 1992 mixtape just keeps on giving with the icy drill percolations and distinctive coven attitude of Brujas, a warning shot on the head of lesser MCs delivered with ineffable poise and class.
Here comes the drums!
Latest in Metalheadz’ digital remaster and reissue series gives up Doc Scott’s eternal jungle classic VIP Drumz, loaded with one of the sickest mentasms of all time, and a pristine version of Goldie’s spine-freezing, Japan-sampling jungle masterpiece, Ghosts of My Life.
Essential. Nuff said.