Californian electronic pop duo Peaking Lights make a splash on Dekmantel with 'Sea of Sand', the band’s first release this year. It’s a kaleidoscopic melting-pot of dainty dub, experimental and leftfield beats, with wondrous sunny soundscapes that blend together the unconventional home-fashioned electronics, and windswept vocals that have defined Peaking Lights to date.
"'Sea of Sand' is the band’s first record in three years not released on their own imprint. With six tracks, exceeding 30 minutes in total, the extended EP is a prelude to a forthcoming LP. With a DIY aesthetic and approach to analogue instrumentalism, Peaking Lights retro-digital sound is one that sits perfectly with Dekmantel.
Already with a string of highly acclaimed albums across their ten year production history, the husband and wife duo that is Aaron Coyes and Indra Dunis have carved out a niche of quirky electronic, and psychedelic pop sounds. 'Sea of Sand' once against sees the act once again teaming up with an international label, having released on some of the most integral and pioneering imprints in the scene. The band, who founded themselves on innovative technology, and a pragmatic approach to sound and composition recorded the EP together in their home studio, Dreamfuzz. The result, 'Sea of Sand' feels more like a mini-LP, with a diverse mix of experimental beats, and extended electronic, pop-dubs. As ever, Dunis focuses primarily on vocals, along with synths, piano, and live electronic drums, with Coyes on synths, drum programming, and dubbing on a mixing console. Recording the vocals live in the studio, the band worked a lot with tape, using tape scratching effects to the give the record an even more dubbier feel. The record kicks off with the quirky, upbeat pop track 'Blind Corner', followed by slower Italo-like 'Hypnotized'. There’s a wavey-krautrock sound on 'Shift Your Mind'; a glowing romanticism on 'Read your mind'; and a celestial ambience embedded through 'Noise of Life. The record concludes with the sonically divine harmonic piano track 'Sea of Sand', perfectly setting the template for the EP.”
Red D & San Soda team up as FCL for the mellow burn of ‘The House Music Track’, backed with a soul-infused Kai Alcé remix
Following their ‘Cherry Pie’ hook up on Alcé’s NDATL Muzik, Lady Linn blesses FCL’s original with a classically-skooled vocal, but to be honest we’re more partial to the remix, loaded with ruder square bassline and wicked Chez N’ Trent styled chords.
Reissue of Jah B’s previously unreleased blinder ‘Vampire’ backed with Tony Jackson’s high grade Roots Reggae ace ‘Mother I Love You’, newly reissued on Wackies...
Produced in fine Wackies style, Tony Jackson’s sought-after declaration ‘Mother I Love You’ is placed on the front along with the heat-hazy gauze of the ‘Mother’s Dub’ on Itopia’s original riddim.
B-side is haunted by ‘Vampire’ from Jah B and Wackies Rhythm Force, which has been beautifully transferred from tape (or original copy?) replete with spooky artefacts on the vocal mix, before really coming out of the dub’s nooks and crannies.
Fresh from grime legend Scratcha’s newly revived DVA Music, ‘Interludes’ revolves around 17 succinct shots landing somewhere between a modern day library LP and a computer game soundtrack...
Like his mazy, heady ‘NOTU_URONLINEU’  album for Hyperdub before it, ‘Interludes’ is testament to Scratcha’s sense of humour and the diversity of his artistic interests across a spectrum of grime, ambient, R&B and film music styles, and the way they all interrelate and make him feel.
His regular vocal spar Clara La San turns up in the all too ephemeral weightless R&B of ‘Addiction’, and we’d daresay that’s a long suffering girlfriend he’s cackling at in ’Skype’, but the most sonically arresting moments lie in the vaporous wormhole of ‘Charlie Brooker Knows Sumfin We Dnt’ and the charmingly loose dip of ‘Air Bubble’, which is also the album’s longest and only real rhythm driven tune.
Prob sounds best with a zoot.
Super crackly but captivating recordings of a school group made in Niger, near the same region as the ‘Guitars From Agadez’ albums
“I first came upon this cassette at Djadje’s market stall at the Grand Marché in Niamey in 2014. The tapes were not for sale (Djadje sells dubbed copies) so I spent the good part of a day sitting on a wooden bench in the crowded market, digitizing with a cheap walkman and ZOOM. The results weren’t pretty. Someone’s cellphone, probably my own, was sending radio interference, and the tape was distorted with staccato noise. When I heard it, I was already thousands of miles away. A few months ago, while back in Niamey, I did like any good video store patron in 1993 and left a friend’s driving license and a hefy non-refundable deposit. We brought the tape to France, digitized it, and returned it to Djadje in a months’ time.
Djadje was surprised to see the tape again. And for good reason. The tape is rare, the only copy I’ve ever seen. The recording comes from a school group from the village of Tudu, in the region of Agadez, led by a guitarist and professor Barmo. The style that would become a popular in Niger throughout the 1980s and 90s, with many similar schoolgirl groups, like the one in Tchirou (and what would go on to form the basis and genre of Sogha Niger). The guitar playing is minimal, recalling early Ali Farka Touré, answering and mimicking the lilt of the song.
The cassette also stands out with the mysterious logo and catalog number – “HASADA” – maybe something only I would obsess over. But the only other cassette from the label I’ve found was Mamman Sani’s first and signature recording that went on to become the re-release La Musique Electronique du Niger. Rumour has it that Hasada was from Nigeria, and made a few of these tapes to distribute around Niamey. He had a good ear, whoever he was.”
Inimitable percussionist Eli Keszler takes time out from 0PN’s ensemble to unfurl the incredible, dextrous rhythms and electro-acoustic jazz keen of his masterpiece, ‘Stadium’ - a spellbinding follow-up to his cherished ‘Last Signs of Speed’ LP and recent duties working on 0PN’s ‘Age Of’ and Laurel Halo’s ‘Raw Silk Uncut Wood’ sides. For us this is one of the defining albums of the year - an isolationist avant-jazz masterpiece that is a total must-hear for late-night listeners and, we reckon, anyone with a pulse and especially recommended if yr into Milford Graves, Max Roach, Han Bennink, Conjoint, Jan Jelinek, Miles Davis...
With both his close collaborators Daniel ‘0PN’ Lopatin and Laurel Halo smoking in the back seat of ’Stadium’, Keszler is the dynamic battery behind a shadow-strafing suite of spidery rhythms and inquisitive jazz gestures, effortlessly binding avant instrumental dexterity with cool blue harmolodic sentiment in a timeless style that could feasibly be dated to any point between the mid ‘70s heyday of jazz-fusion and right now, except for those spectacuarly subtle production flourishes that render this album pretty much indefinable. It’s both highly complex and entirely accessible - in the most thought provoking, evocative way.
Painted in diffuse strokes, darting flurries, and intoxicatingly rich tones, ’Stadium’ shows off Keszler’s expressive grasp of meter, texture and proprioception from myriad angles. Combined with floating Rhodes chords, sighing woodwind and field recordings, the results also demonstrate his uncanny capacity to transmute sound to limn landscapes, architecture and the sensation of being lost in a crowd. In the case of ’Stadium’ he uses this ability to specifically reflect his recent house move from the semi-industrial scape of South Brooklyn to the high rise vistas and street level bustle of Manhattan, beautifully connoting multi-storeyed perspectives and a sense of scale that zooms from the atomic to the panoramic via a gauzy, morphing middle-distance.
Within this space, Keszler navigates webs of sound as structurally fascinating as a spider’s web or a deep space image of a distant constellation, seemingly moving on eight legs along steep vertical and fast-flowing horizontal axes with a shocking grasp of precision and pointillism that will leave new listeners to his work scratching their heads, wondering how to programme such chicanery electronically. But as longer term followers of Keszler’s work know, the magick is all acoustic and haptic; physically converting impressions of images and emotions into overlapping geometries of geography and psychology - and in this case effectively projecting a singular, inverted form of sonic deep topography, if you will.
Perhaps the most wondrous thing about ‘Stadium’ is the way it describes the paradoxical quality of keeping your head amid the chaos - a notion that will surely resonate with inner city dwellers as much as fans of the finest noise, jazz, avant-garde music of all stripes, and is firmly at the heart of ’Stadium’ and its amorphous milieu of sound.
Simply an incredible album.
PAN tout a real beauty with Stine Janvin’s scintillating vocal suite ‘Fake Synthetic Music’ - a transfixing and distinguished demonstration of the voice as a hugely flexible instrument, presented in a range of minimalist yet extreme, probing scenarios providing a radical new perspective on familiar sounds.
Conceived as a full-body physical and ambient live performance for theatres, clubs and galleries, ‘Fake Synthetic Space’ is an intently focussed and singular follow-up to Stine’s previous solo LP ‘In Labour’ [Pica Disk, 2014] and her input to last year’s Native Instrument release ‘Camo’ for Shelter Press. Where both of those releases found her vocals combined with field recordings in myriad ways, the Norwegian artist’s latest side is stripped right back to vocals and FX, offering a visceral investigation of her full frequency range with results that explore the deeply uncanny auditory phenomena of otoacoustic emissions in melodic, minimal sequences referencing pop, techno, and trance.
Placed in a broad history of extended vocal investigation ranging from Dadaist poetry to the resonant acoustics of Alvin Lucier, the minimalist abstraction of Steve Reich, and the unearthly sonic spectrum covered by Maja Ratkje, ‘Fake Synthetic Music’ is anchored in the modern day by its use of clinically technoid pulses and repetition, and not least by its ambiguous title, especially in the age of fake news. Through the prism of the voice, Stine both literally and metaphorically reflects contemporary obsessions with authenticity and artifice, using trickery and illusion to strangely reinforce her own sense of self and likewise provide listeners with a life affirming experience.
Between the alien cadence of ‘Mood’, the playfully invasive sounds elicited from Glitch’, and most strikingly in the mesmerising stereo swing of ‘Like Right Now’, Stine presents genuinely shocking rearrangements of her voice quite unlike anything out there right now, and by the time the escalating pitches of ‘Tripple A’ and the whooping avant-jazz-techno of ‘Zen Garden’ have exerted their effect, it’s becomes patently, piercingly clear that Stine’s sound art operates on a remarkably incisive plane of synaesthetic perception.
Preeminent sound artists William Basinski and Lawrence English roll out the quietly breathtaking ’Selva Oscura’ as the first fruit of their collaborations spanning the past half decade and more.
Mantled in reference to Dante’s Inferno, ‘Selva Oscura’ literally translates to ‘Twilight Forest’, a title which serves as metaphorical device for the way Basinski and English’s lives in transit have serendipitously crossed paths over the years between Zagreb, L.A., and Hobart, in a variety of situations. On another level it also speaks to the nature of losing one’s way in place and time, which is beautifully reflected in the music’s disorienting, otherworldly ebb and flow flux.
Using a palette of sounds broken down, magnified and inverted from macro to micro scales and vice-versa, and mailed to each other between L.A. and Brisbane, the results map out vast tracts of psychic terrain that shift like the sands of time, with sounds perpetually rearranging themselves on the granular level to render a broader, slow moving tapestry of sublime, anaesthetic quality.
The A-side’s ‘Mono No Aware’ (Japanese for “the pathos things” or “a sensitivity to ephemera”) is a captivatingly transient and hypnagogic work of sferic tones and sprawling wide bass, lulling listeners into a state of lushest melancholy with the allure of a time-lapse video of autumnal weather patterns. ‘Selva Oscura’ follows with a discernibly darker and submersed appeal, as though the clouds have come down to us (or us to them?) and we’re left wandering the firmament, initially swaddled in a creamy grey-pink expanse marbled with pealing partials, before crossing oceanic basses and gently touching down to pinch ourselves.
‘Apparitions’ is the superlative debut album by Forest Drive West, steadily scaling from fast, mutant footwork/D&B to beatless ambient via rolling techno variations, and back up to sidewinding 150bpm styles. Dead solid, full spectrum bass business.
“This is the debut long player from Forest Drive West. 'Apparitions' is a fascinating further development of the producer's intricate fusions of techno, dub and jungle. The acclaimed UK artist has released two EPs on the label before now, as well as on its sister label dnuoS ytiviL and the likes of Hidden Hawaii, Appian Sound, and London drum & bass outlet Rupture. Little is known about the London based producer but in just a couple of years he has established his own unique blend of complex rhythms and tactile sound design, distilling a rich history of UK musical influences into fresh new forms.
This record continues in that tradition with a mix of sparse rhythm tracks that contrast heavy weight drum programming with rich and deft sound design. From menacing and mysterious, to cinematic and hypnotic, it makes for a compelling and immersive experience. 'Apparitions' is a landmark release for one of the UK's most exciting new producers.”
Lone returns to the ‘floor on the 4th ‘Ambivert Tools’ session...
On ‘Pulsar’ he operates at full wingspan with sexy, latinate electro and breakbeat trills cushioned in widescreen pads to soundtrack your festival instagram stories. ‘Oedo’ then tightens up on a Vibert-esque electro-acid pivot, and ‘Blue Moon Tree’ swings out into jazzier, deeper ambient house vibes.
Cromby kicks off the Silver Service wing of Denis’ Sulta Selects label with three big-boned house swangers
The Berlin-based Irish producer plays it stealthy and moody with the subtle build and tangy synths of ’Futurola’ leading to a well placed, belting diva sample, before ‘Barneymania’ lends a kinkier touch to the swing with teasing chords and fully greased up bassline, leaving ‘Fandango’ to get your clem twitching with 7 minutes of arp-lead EBM house.
The debut album by Goatman, a new solo project by one of the mysterious members from the Swedish collective GOAT.
"Recorded in GOAT’s northern Swedish home town of Korpilombolo In late 2017 - the 6 tracks on Rhythms reveal a true collision of African Rock, Jazz, Reggae, Gospel and Psych, but all put through the famous GOAT filters. Rhythms is a very apt title for the album as each track is an exploration of the ‘groove’. From the Fela Kuti‘esqe drums and horns jam of Jaam Ak Salam, to the frantic gospel-jazz of Carry the Load. From the fuzzed Can via the ‘Bristol sound’ track of Hum Bebass Nahin, to the cinematic, Spacemen 3‘esqe drones of the album closer Baaneexu.
The end result is quite an astonishing and very unique album, like what you would expect from an album made by a member of GOAT – an album that is hard to put your finger on, but one that you will keep revisiting, the more it’s sounds reveals itself. Goatman plays all the instruments on the album bar some additional drums by Hanna Östergren from fellow Swedish bands Hills and Träd, Gräs & Stenar, and an added horn section courtesy of Johan Asplund, David Byström. One of the standout highlights of the album though is the collection of great guest vocalists Goatman has enlisted. Tracks Jaam Ak Salam and Aduna feature the very special voice of Senegalese singer Seydi Mandoza.
You will also hear the vocals of Swedish based singers Amanda Werne on Carry the Load and Amerykhan on Hum Bebass Nahin. Goatman’s passion for traditional and contemporary music from around the world can be clearly heard when listening to Rhythms. The level of authenticity and willingness for exploration that Goatman has captured truly shows a fanatical respect for the music he is greatly influenced by. But at the end of the day, Rhythms is an album that has a sole purpose, and that is for to you to enjoy, dance and have fun too!"
Carla Dal Forno yields her self-released cover versions tape, ‘Top Of The Pops’, which was previously only available on her 2018 US tour
Recorded on the cusp of winter/spring, it features Dal Forno placing a gently haunted spin on personal pop & wave favourites by The B-52’s, Rénee, The Kiwi Animal, Liliput, Lana Del Rey, and The Fates.
Stripped down to their essence, the songs provide a fine showcase for Carla’s strong yet plaintive vocals and skill in painting and framing her subtle instrumental backdrops. The results are most alluring in her skeletal reduction of the B-52’s ‘Give Me Back My Man’, with its seaside town-in-winter ambience, and in the dark blue stripe of her take on Lana Del Rey’s ’Summertime Sadness’, but we’re sure you’ll all have your own favourites.
Sold out at source. Think quick if you’d like one.
Pleasantly queered and blue-eyed soul from Stones Throw’s young new signing, including guest vocal by Weyes Blood.
“Jerry Paper is the creative persona of Los Angeles-based multi-instrumentalist, songwriter and producer Lucas Nathan. Like A Baby is his first album for Stones Throw. Nathan cites a vast pool of influences on his music, from fellow pop outliers Prefab Sprout, Todd Rundgren and Steely Dan — “a deep source of inspiration for me” — to classic R&B, Stereolab, avant-garde Brazilian artists, and Japanese electronica. Inspired by a move from NYC back to Nathan’s hometown of LA, Like A Baby explores existential themes tied to “the endless human cycle of desire and satisfaction.””
‘Chindia Tower Impalements’ is Âmes Sanglantes’ foul and torrid 3 hour dedication to Vlad The Impaler, the infamous Voivode of Wallachia during the 15th century. Three years after the original tape release, and in parallel with a new 3CD reissue, Hospital Productions see fit to dispense this downloadable version, remastered for purpose by Paul Corley.
“Âmes Sanglantes means "bloody souls". Nowhere else in Âmes Sanglantes' sprawling and massive wild/punk/junk discography has this idea been more focused than on the epic and original Chindia Tower Impalements, as well as on cult tapes like Anti-Anti (1999), Mega Star Barbies, Violation, and the immense and impossible 12-hour-long Crackdown cassette box from Hospital Productions last year. This newly remastered version is the definitive document revealing the cruelty of the Wallachian landscape myths and realities. Dracula vs. Vlad Tepes... Caustic, brittle, and eerie, the six long-duration tracks secure Âmes Sanglantes as one of the most original and overlooked extreme electronic monikers of the '90s North American cassette underground.
Distorted but textural where the voices of young androgynous screams mingle together with chirping birds and wolf breath. It's the subtle layering and tape splicing structure beneath the crust that elevates this above the average "noise" recording. You will have to dig and claw past the walls built out of clay bricks, but beyond that is a rich and subtle world of loops equal parts Georges Braque and William Basinski, like collapsing scaffolding melting and crumbling on top of each other. This is rotting electro-acoustic studies where one can see a portrait float to the surface in the rippling and muddy puddles. Shockingly, after nearly 100+ cassette-only release since 1996, this comes forward as the first Âmes Sanglantes compact disc. A true student of the '90s, you'll find a stunning presentation that is equal parts in reference to Cold Meat Industry as well as Japan's Alchemy Records. So open up the old CD changer, light a few candles, and a pour the red wine for an epic that revives the imagination of times lost and losses yet to come. RIYL: William Basinski, Incapacitants, Brighter Death Now, and the early works of Rainforest Spiritual Enslavement. Remastered by Paul Corley (Oneohtrix Point Never, Ben Frost, Prurient).”
Cult noise alchemists Skin Crime leave a fresh mark on Hospital Productions with 'Ghosts I Have Been,' following the label’s 20CD boxset release Case Studies In Early Taxidermy . Emerging at a fecund juncture in the Hospital Productions’ catalogue, Skin Crime’s latest miasmic pall serves a disciplined and elemental definition of ‘noise’ dynamics at their abstract, affective and invasively visceral best.
“Ghosts I Have Been is the first album from the supreme atmospheric noise band Skin Crime since their colossal 20-CD box set collection on Hospital Productions in 2015. Anyone who attended the Hospital Productions 20 Years Festival in New York City and saw Skin Crime perform their first live show in nearly 15 years will understand the deep masterful balance of tension, texture, and dynamism that has been the signature since the early '90s of this cult and collectible project. A defining characteristic is the fact that Skin Crime is a band with multiple members which brings live space and intricacy to a genre otherwise isolated to the confines of stagnation.
Ghosts I Have Been exhibits the usual mix of concrete sounds with raw electric noise slowly and seamlessly building into crescendo. Unlike the early obsession with various forms of butchery, Ghosts I Have Been shows the darker more austere side of the subject matter of decay, small rural towns, an antique shop with an uncanny selection of dusty old books of stories you might rather not know about, or an old library which seems eager to open its doors to readers but reluctant to open them.”
Sene greases up and gets down with the decelerated EBM industrial patterns of Berlin’s Unknown Precept
Working in tight space between the styles of, say, Tolouse Low Trax and his new label mate, Cienfuegos, Sene’s ‘I Heard You Laughing’ approaches the ‘floor with deep swagger in ’Trade Union’, before heading down darker avenues with the fizzing rhythm and glum atmosphere of ‘Et Cætera’, and holding down a brooding, cold sort of exotica in ‘La case Moment’, and wrapping up very nicely with the shadow-strafing shift of ‘Nocturne’.
The french EBM specialist spanks out a 6th album of the steely stuff, also making up his debut LP with Ostgut Ton after delivering them two 12”s in recent years
Skip the obligatory “drone” intro and you’re left with seven protein-fuelled dark dancers shifting weight from the tarry subs of ‘Shout In A Black Hole’ with its AFXian holler, to the slow and wide roll of ‘Mind Event Horizon’, the icy groove control of ‘Accelerate’, the sexy trance hypnosis of ‘A Halo Somewhere’, and the album’s most percussive banger, ‘Phase Shift’.
Tim Jones, also known as Preacherman and recorded under Midi Man, Ironing Board Band and T.J. Hustler made one very rare lp, and two even rarer CD’s. These tracks are from the CD’s.
"He was a salesman for IBM in Las Vegas, where he sold Selectric Typewriters and then word processors during the day and at night he would perform in the Las Vegas lounges. He was somewhat of an engineer and adapted a Hammond B3 organ to play a moog synth with some of the organ keys, (some still played the organ), and he adapted the organ’s foot controlled bass levers to play two Moog synth bass pedals (a failed item Moog made for a few years.) Thinking he wasn’t much of a live performer he had a wooden puppet made that he named T.J Hustler, and together with the puppet, he would engage in long philosophical soliloquies, (some of which are featured on this album).
If you meet Tim, he is not someone who stops talking. In fact he even created a little book called Universal Philosophy. He has a lot to say about everything. Currently he lives with his 103 year old mother in Oakland. There he infrequently plays shows on his Casio where he fashions himself a live Karaoke performer, who comes complete with 5 wireless mics and P.A. and a list of about a 100 songs he can play. His invented organ contraption and puppet are in storage in Las Vegas, and he seems intensely uninterested in getting them out, as “The kids these days want to hear the sounds the Casio makes.”
Originally released in 1953, this collection of very early Moondog pieces features the same tribal rhythmic impulse as his famed Prestige recordings, but there's an impressive line in chamber music running through these compositions: the B-side is dedicated to two suites for strings, which could easily pass for more traditional works were it not for the heavy bongo presence (something Haydn, Mozart et al were always sorely missing). Essentially though you can hear a sense of discipline, and a thorough working knowledge of conventional classical composition in Moondog's work, even if he ultimately chooses to subvert it. All this is further destabilised by slightly weirder excursions like 'Tree Frog - Be A Hobo', which fit into some odd percussion-centric take on what might loosely be termed as a 'song'. More idiosyncratic, entirely uncategorizable work from one of 20th century music's true mavericks.
Mute bundle 17 highlights, including two bonus tracks, from Manc punk-funk troop A Certain Ratio
Throwing back to the heyday of Manchester multi-cultural groove explosion, there some proper evergreens inside, including the sleazy twist of ‘Wild Party (12” Version)’, the utopian dance-pop of ‘Won’t Stop Loving You (Bernard Sumner Mix)’, the 7” mix of their jazz-funk turn ’Shack Up’, and the gauzy groove of ‘Knife Slits Water (7” Version)’.
The KVB put another gallon in the tank with ‘Only Now Forever’, their 6th LP of motorik, melodic wave pop. RIYL Death In Vegas, Beak>, Spacemen 3
“After intense touring their 2016 release ‘Of Desire’, The KVB returned to their home to further immerse themselves in sonic experimentation. The resulting Only Now Forever heralds the next chapter in the adopted-Berliners dark, electronic pop development.
“On our new album we wanted to take everything we had learned in the studio recording our last album and apply it to self-producing this album,” explains the band. Recorded entirely in their Berlin apartment throughout 2017 the band decided they wanted to take a freer approach to writing and recording. “In the past, we had always tried to restrict ourselves productions wise, to what was possible to play live as a duo, but this time we wanted to expand our compositions and instrumentation, and let the atmosphere dictate the layers of sound.”
Whilst holding evident inspiration from previous times, the sound this London-founded duo present is progressive and distinctly new in every sense. Idyllic at times; gritty in others, each bar is as enchanting as the last, leaving you in a melancholic trance.
Offering poignant lyricism that explores modern anxieties that plague many, the duo manage to imbue feelings of empowerment, fighting such struggles with a deceivingly sanguine sound. This seamless juxtaposition is perhaps their best trait.”
Remastered for 2018... Dating back to 1957, The Story Of Moondog followed up the previous year's More Moondog LP, setting its course for adventurous new sounds and homemade percussion meditations.
The music is never a slave to any one fixed agenda and much of the material here sounds as if its gathered from some undiscovered culture - it's all-but impossible to compare this with anything else from the era, but when the longer-form pieces arrive they augment the more primal, outsider aesthetics with visceral, jazzy arrangements.
'Up Broadway' is an urgent and thorny construction combining the rhythmic complexity found elsewhere with aggressive horns, while 'In A Doorway' lets a little of the outside world into its recording, embracing the street sounds that so influenced Moondog's early works and intermingling them with instrumentation. It's a curious combination of musical improvisation and concrete sound which, once again, you simply would not associate with this era.
Following introductions made on the ’15 Years of Bunker’ comp, LDY OSC turns out her debut batch of skudgy electro-techno with The Bunker New York
Head straight to the ruddy acidic funk andgloamighn pads of ‘Pushed All’ for the biggest highlight, and also the incendiary synth textures and body-trap snares of ‘This of NY’ for some proper late night club grunge.
Auntie Flo mosaic worldly rhythms and balmy synths with fragrant field recordings on their 3rd LP and debut with Brownwood Recordings. Listen up for highlights in the moody blue and string out ‘Cape Town Jam’, and the 808-heavy, Afrobeats-compatibility of ‘Western Princes’
“Auntie Flo joins the Brownswood roster to deliver his third and most ambitious album to date. The Glasgow-raised producer, of Goan-Kenyan heritage, has often featured collaborators from different spots he’s visited, and this new record takes that approach to another level. Contributions come from a globetrotting cast of friends, including Laurie Pitt, of Glasgow’s Golden Teacher, Senegalese multi-instrumentalist Mame ndiack, UK producer and singer Andrew Ashong and Cuban percussionist Yissy Garcia.
It arrives as the natural companion piece to his Radio Highlife show on Worldwide FM, the online station run by Brownswood boss, Gilles Peterson. Regularly touring to DJ in various cities around the world, it’s a pursuit that’s gone hand-in-hand with the global slant of his music – with the local radio often being his first introduction to new cities. It follows in the path of Glasgow’s Highlife club night which he co-founded, playing music from West Africa and Latin America which broke out of the city’s house and techno mould. Likewise, his own music has always been laced with percussion, ideas and inspirations that reflect a far-reaching perspective.”