The Pilotwings revise the salty psych disco of Lunga Strada from the Prins Thomas 5 LP in two fancy ways
First on a colourfully plumed Bubble Zouk mix chock with bird calls, xylophone vamps and latin freestyle-esque edits, then a more stripped down Bonus Beat emphasising those mad edits and freaky dubbing.
A marriage made in dub house heaven, the Accumulate EP is 1st in a series of collaborations between Fluxion and Rod Modell aka Deepchord, to be released via the former’s Vibrant Music label.
Converging from subtle differing yet wholly compatible angles, Deepchord & Fluxion’s Transformations duo explore an elegantly widescreen sound that sounds familiar, yet remarkably altered and uncharted in either artist catalogue.
Layered from fathomless bass pads and swooning string figures, Accumulate runs to just shy of 25 minutes across the two sides, with the 13 minute Pt.1 subliminally flowing and expanding across into Pt.2 in such a lush, hypnotic manner that you’ll almost be irked at having to get up and flip the disc, but then you’ll just flop back and restart the zoot and ride out into its diaphanous, dusky sunset.
Leaving Records’ head honcho Matthewdavid tips out a few years worth of cracked, sun-dazed hip hop, jungle and freaked grooves on Time Flying Beats - the Julia Holter and Flying Lotus-collaborator’s 1st serving since A Meditation On Events in 2016.
It’s a sterling dose of psychedelic West Coast styles meets rugged trap and Deep South sensibilities, working in and around the Low End Theory sound with a polychromatic, distorted flux of Memphis rap knocks, DJ Screw-like gangsta vibes and top40 trap bangs smartly messed up by properly lysergic electronic processing.
In a similar way to, say, Black Zone Myth Chant or even SKRS International, Matthewdavid really fxcks wi the format while somehow remaining true to its original intent, resulting some great work in his Steve Miller Band-gone-footwork freak Slipppin’, on his meter-messing shelter skelter Millenial Midnight, the Thriller-esque warped boogie slammer Flow With The Go, and his killer sunset mission Contemporary, but you’re advised to indulge this one whole, or even better with something stinky and green.
Tune-Yards counters her heavy lyrical subject matter with beats designed to make you dance
“I can feel you creep into my private life is Tune-Yards' fourth album. Thematically, the twelve new songs tackle race, politics, intersectional feminism and environmental prophecies head on. But in the billows of intense subject matter, the album arrives as Tune-Yards’ most immediate and upbeat music yet – this is music to dance to.
On I can feel you creep into my private life, Tune-Yards is officially a duo. Garbus is joined by long-time collaborator Nate Brenner who produced and wrote the album together with lyrics by Garbus. Tune-Yards worked with a mixer Mikaelin “Blue” Bluespruce (Solange, Kendrick Lamar). Much of the album was recorded at Tiny Telephone Oakland, in Oakland, CA and mastered in Harlem, NY by Dave Kutch (Jay-Z, Chance the Rapper).”
The Lasry Baschet duo’s pioneering mechanical instruments come to life on a reissue of their 1957 debut 7”, newly dispatched just over 60 years since release. Sounds remarkably electronic, but entirely made with acoustic means - glass rods, balloons, wet bows and metal sheets
“As a truly indispensable bookend to any listeners with the slightest interest in experimental music, French culture or the foundations of mechanical songwriting this inaugural release by these Parisian musical revolutionaries not only predicts the future sound of modern composition by almost 60 years but detangles the deepest roots of European popular culture celebrating an important historical family unison in the process. Combining the infant steps of Magma, the sonic blueprint of 1970’s TV theme Picture Box and the sculptural creations of Polly Maggoo this important and groundbreaking 3 track 7” EP takes us back to the very first aural glimpse of the future of pregressive Europe at the hands of physical sound sculptures glaring in the face of premature technology.
This EP and its varied three-pronged assault is the first step in the legacy of the Lasry Baschet unison uniting the husband and wife team of Jacques and Yvonne Lasry plus their son Teddy (who would later create Magma with Christian Vander) and hard material sculptors François and Bernard Baschet (who would later work with William Klein). It was this creative unison between visual art and experimental music, witnessing the Lasry family exchange their orthodox music skills in favour of crystal rods, balloons, wet bows and metal sheets, that would potentially change the course of European music which was already on the extreme verge of electrocution with the rise of tape music and embryonic synthesised instrumentation.
Promoting the phrase Instruments Non-électroniques (as celebrated on the sleeve of the Cacophonic full-length release 11CACKLP) the Lasry-Baschet collective’s humanistic music (an attitude upheld by composers like Michel Magne) would later spark the imagination of Jean Cocteau leading to installations at the Museum Of Modern Art leading to a huge shift in the way people approached experimental melodic music alongside the efforts of Harry Partch and other music machine makers. The appropriation of their music in art, theatre, ballet, film and television came closest to UK shores when their composition Manège was used as the long running theme for the children’s TV compendium Picture Box spanning three decades (rivalling both The Moomins and The Booktower for the most indelible and nostalgic spooky theme tunes in the history of British TV) by which time Teddy Lasry had independently become one of France’s most creative instrumental composers of all time.”
Heralding his ‘Yous’ album, Irish song-writer David Kitt (New Jackson, Tindersticks) rustles up a mixed bag of sleepy indie-pop-folk, krautrock electronics and psyched ambient downbeats on his latest for Dublin’s All City Records. RIYL Jose Gonzales, James Holden
“Describing his first solo record for nine years as “the most free I’ve felt making a record since my debut Small Moments”, David Kitt’s sense of freedom is bound up in themes of renewal, movement, and a constant reshaping of his musical preoccupations.
The last number of years have seen him touring and recording as a member of Tindersticks, producing other musicians’ work, exploring techno, disco, and house under his New Jackson moniker, remixing everyone from Shit Robot to The XX, and producing intriguing, eclectic DJ sets and radio shows.”
Amazing record! Avant-pop enigma Leslie Winer slinks the plasmic, recursive matrices of Jay Glass Dubs in a brilliant but unexpected marriage of husky trip hop and psyched-out dub styles on Your Mom’s Favourite Eazy-E Song for Bristol’s excellent Bokeh Versions.
Finding common, scorched ground between Jay’s gutted structures and Leslie’s abyssal, esoteric insight, YMFEES serves to perfectly highlight the similarities and mutabilities common to both artist’s oeuvres, which have previously shared label space on The Tapeworm, and both share a keen lust for the dankest ends of the dub pool.
With Winer’s lyrics reprinted in swirling ellipses and contoured kerning on the inner sleeve, and presumably (and smartly) designed to mirror the elusive structure of Jay Glass Dub’s arrangements, the listener is offered some kind of star chart thru their no-man’s-land mental dub scapes of ricocheting riddims and droll reportage from the brink of consciousness.
In a dancefloor situation, we’d imagine these tracks to trigger some healthy bewilderment, as bodies get snagged on Jay’s cranky churn and heads spun by Leslie’s stream-of-non sequiturs in Woodshedded, or likewise bullied by the blown-out bass and genuinely spooked, over-the-shoulder vocal of About The Author. However, it’s most likely to be consumed in solitude, which is probably the most appropriate for really getting into the album’s strangest nooks, such as the deliciously OOBE-like detachment of No Famous Actors featuring Winer as HAL-like ghost in the machine, or the masterfully heavy-lidded drowse of Cogged featuring a barely-there Winer suspended above Dubs’ murkiest, hypnotic strokes.
What a beauty?! Don’t sleep!
Necessary 1st vinyl edition of Laraaji’s 1984 new age devotional suite. Effectively gospel soul in the key of Om, written and performed on Casio keyboards, depending on your disposition it’s either worthy of comparison with Arthur Russell, or an extended Tim and Eric sketch. Take your pick…
“Vision Songs Vol. 1 (1984) is the LARAAJI album like no other, located at the intersection of new age and gospel, his outlier and magnum opus, the feel-good DIY tape of the century. Casio synth jams recorded at spiritual retreat guest rooms and a tiny bedroom on the Upper West Side, lysergically-spectacular anthems for a continually arriving new moment. “Channeled from the sky,” humbly offered as digital download for the first time, this is where this is going on, this is where this is taking place, this is how this is going on. Is this very clear?”
The Rapture’s rhythm section break away on a hi-velocity cosmic disco mission for The Ran$om Note. Hang on to your garys, this one’s got some serious thrust…
“Mother of Mars is the latest evolution of Vita & Druzzi, two New Yorkers who have provided the 21st century with some of its most innovative dance music. The duo first came to fame as the rhythmic backbone of The Rapture, NYC pioneers who found global fame with their angular post-punk and howling disco. Since then Vito & Druzzi have had a prolific career as remixers and producers, producing leftfield disco killers for a range of labels including Warp and Throne of Blood.
Their first release as Mother of Mars sees the duo fuse live krautrock drums with pulsating synth loops, creating two epics of space and rhythm that owe a debt to ‘70s kosmische pioneers like Tangerine Dream and are receiving support from the likes of Andrew Weatherall, Trevor Jackson and Francis Inferno Orchestra.”
Knackered, buckled industrial/EBM blatz for fans of Nick Klein, Smersh, Liquid G
“Amsterdam's worst kept secret makes it back to Unknown Precept with his long-awaited album and first solo output since the acclaimed Divine Bovine cassette mini-album. Inspired by an evening spent in a restaurant next to a car demolition site, Eindkrak's long player debut echoes the distant sound of steel being crushed and cars pressed into cubes. All this noise, in combination with the taste of good Italian food, lead to the eleven tracks making up for the aptly titled Brullend Staal — loosely translated to weeping steel. A leisurely stroll on crumpled metal sheets, the acidic hints of oxidized metal and the smell of gasoline. Inaudible and distorted vocals as if smothered by the clatter and smokestacks of steel factories. Eindkrak's first full-length is all about this disquietude made of melted and straightened metal. A resounding and tumultuous din. Try to eat some nice gnocchi while listening to this album, and you'll see what it is all about.”
Deep house guy John Daly turns his hand to hip hop on a 2nd dispatch as West 2 West for Dublin’s All City. Imagine Dabrye getting lean with Kaman Leung and Letherette and you’re in grasping distance of the classic-rooted instrumental styles inside.
“Following last year’s well received ‘The Smoke Clears’, John Daly returns to the All City under another alias - West 2 West which was debuted on Jheri Tracks Vol 1. Equally as atmospheric as the ethereal Smoke Clears, this project is the result of his ongoing hip hop obsession. MPC workouts inspired by current listening, the result isn't quite hip hop, but sits nicely in the all city beat discography. There's an after-hours headphone feel to the set - spanning twenty-four tracks split evenly over two 12 inches - Volume 1 and Volume 2.”
‘The House’ is the third full-length album from New York musician Porches (aka Aaron Maine).
"The 14-song affair features contributions from (Sandy) Alex G, Dev Hynes, Okay Kaya, Maya Laner (True Blue), Bryndon Cook (Starchild & The New Romantic), Cameron Wisch (Cende) and Maine’s own father Peter Maine.
‘The House’ was written and recorded over an 18- month stretch, immediately following the completion of Porches’ breakthrough record ‘Pool’. Taking a diary-like approach, Aaron documents a period of time through the 14 gorgeous songs on this record."
Natty, tracky DJ tools from a cool-handed trio on Sven Rieger’s much-loved SUED label.
The bossman himself appears as Svn ‘longside regular spar Dynamo Dreesen, and Dave Huismans a.k.a. A Made Up Sound in a disciplined democracy of minimal nudges and tweaks yielding infectiously unsteady yet rolling grooves.
From the A-side’s swanging, bucking jack track, to the sloshing tribal percussions and dissolving dub patterns of the B-side producer is seemingly trying to under-do each other to the benefit of the ‘floor.
Optimistic krautrock and balearic vibes featuring drum programming by Manual and Causa Sui’s Jonas Munk
“Nicklas Sørensen's second solo effort away from his main stint as guitar player in Papir is a more placid, blissful listen than his first solo venture from 2016. On this set Nicklas digs deep into his love for vintage new age music, Brazilian bossa nova and the electronic side of kosmische, while still paying homage to the guitar heroes that has shaped his playing throughout the years, such as Vini Reilly, Manuel Göttsching and Michael Rother.
Produced in collaboration with Causa Sui- and El Paraiso in-house maestro Jonas Munk in his Odense studio, the pair have conjured a set of tracks that are blistering and euphoric, yet relaxed and solemn. Sørensen's unique guitar sound, in combination with warm blankets of analog synths, vibrating filters and the occasional drum machine, paints colourful soundscapes that mediates the soul with both the ethos of new age and hints of classical minimalism and modern composition. Experimentation is at the heart of Sørensen's modus operandi, but he never forgets to keep his melodic guitar leads central to the proceedings.
In these times – with the world's absurdity reaching new levels daily – no one should feel ashamed about leaving the world behind, slowing down for a while, and seek a state where one can emancipate oneself from reality. Chilling out simply cannot be reduced to the guilty pleasure it once was, and the album's B-side is unashamedly immersive - with Munk wrapping bubbly analog synths sequences around Sørensen's guitar loop patterns and panoramic slide guitars. The album ends on Sørensen's most inward-travelling note yet, bathing expressive guitar lines in a tender ocean of processing and reverb. Get that incense burning!
Nicklas Sørensen is one of those artists who manages to filter ideas from the past through a modern, personal vision. ”Solo 2” is a piece of music for the present.”
Avery goes slower, lower and moodier on Slow Fade for Erol Alkan’s Phantasy Sound.
The booming, 100bpm 808s and slunking acid of Slow Fade comes off like Alessandro Cortini reworking Plastikman’s Korridor; After Dark is a bittersweet tract of blurry shoegaze; Radius leans on a sort of early AI vibe reminiscent of B12 and Æ with wicked percolated hi-hats and breathy choral sync voices; Fever Dream finishes strongly on a commanding deep and dark techno trajectory.
Er, yeh. The best music we’ve ever heard from him, as it goes.
Expansive new opus by one of the world’s leading film soundtrack composers...
“Cycles 7-16 is a natural progression from Matt Dunkley’s deubt solo album, Six Cycles, released on Village Green in 2016. Like the debut, it was recorded in Berlin with the German Film Orchestra Babelsberg. With this album, however, Matt pushed himself further, expanding his writing horizons.
As well as being almost double the length, this album boasts a broader sonic palette than its predecessor, such as the full symphony orchestra on ‘Cycle 12’ or the seven solo pianos used on ‘Cycle 14’. On others, Matt returns to his classical roots, using a string chamber orchestra on ‘Cycle 11’ and ‘Cycle 16’.
Touring and travelling over the last two years, influences arose from spending time in different cities and places. The wintry, tense ‘Cycle 7’ was inspired by an early morning in Berlin, while ‘Cycle 15’ was written whilst on a conducting trip to Norway.”
NYC Puerto Rican artist Joe Claussell commits a serpentine remix of Yambú to Gilles Peterson’s Brownwood, weaving Daymé Arocena’s commanding Cuban vocal to free-flowing latinate percussion and subtle dubbing in his mutli-part, 9 minute Sacred Rhythm Mix, so titled after his club events and label of the same name.
Persuasion scopes some deep techno swing in the rhythmic engines of Quatermass for Opal Tapes’ Black Opal series.
Following more delicate ambient releases under his birth name Devon Hansen and as Stéfan Jos (on a split with Austin Cesear), Quatermass firms up a proper dancefloor sound between the effortless, sub-fuelled momentum and wooden knocks of In The Atrium - think Mike Dehnert at his most meditative - beside the rolling, subaquatic structural stress test of Damask Silk, the off-centre step of Quatermass, and an hypnotically engaging winner named Xaviera.
Hanz rakes over vintage hip hop, post punk and industrial ground with a cineaste’s eye to locate new mutations in the undergrowth of Plasty I, the North Carolina, US artist’s follow-up to the Reducer  LP for Tri Angle.
Lodging somewhere between the ears of BAT, a lo-fi MBM and the asymmetric designs of Co La, Plasty I breaks down to a ruffcut patchwork of processed and sawn-off samples wrapped up in dream-like electronic atmospheres and laced with a trippy experimental edge.
It’s pretty much a 2017 answer to the more frayed fringes of UK trip hop and NYC illbient vibes.
Raw but lush-minded analog house workouts reinforced with an 'ardcore DJ Sotofett remix! SW's originals nail a dope brand of scratchy, shifty Detroit house on 'Reminder', also featuring in a cosmic 'Deep Mix' reminding of Shed's old Soloaction issues, and a craftily wonked 'High Energy Mix' sounding like two vintage Detroit records mixed just out-of-phase. Our percy, however, is Sotofett's junglized 'Burriddim' chopping up classic breaks with wicked 'n wild spin-backs, gunshots, massive Reese bass and gorgeous pads in proper, ruff-rigged '94 style. TIPPED!
Maudlin post punk influences swaddled in hyaline, brambly electronics. One for grey days with loads of rollies
"Circuit Breaker are a band split in half. On the one hand, there is the jagged guitar and maudlin singing of Peter Simpson, which slots into the lineage of expansive and gothic punk ala Killing Joke , Bauhaus , Wire ,etc. Pushing against it is the production approach of his brother Edward. Washes of glassy FM Synth melodies are counterbalanced with bursts of electronic harshness, recalling artists such as Autechre & Pan Sonic. “Hands Return To Shake” is the second full length from the London based group and also their second release for longstanding outlier label Harbinger Sound.
Moving on from the previous record, “My Descent Into Capital”, “Hands Return…” is a much more personal and emotive work. Simultaneously a re-affirmation and a deconstruction of influences, the orthodoxies of minimal-synth and post-punk are stretched and squeezed to breaking point. Circuit Breaker are a band who relish in holding together contradictions. Both a rock band and an electronic act , they have a blunt and direct production approach which, nether-the-less, is full of technical detail. ‘Hands Return To Shake’ will likely win them fans from a vast array of genres, from Industrial-Rock to IDM and everything in-between, providing it is dark, synthetic and angular.”
An illustrious cast including William Basinski and Jefre Cantu-Ledesma present faithful reworks of Clear Language, the 2017 LP by Texan shoegazers, Balmorhea.
They’re in trustworthy hands throughout, with notable highlights in Christina Vanztzou’s nervously unsteady meld of electronic and acoustic spheres prone to drift into The Caretaker territory on her take of Sky Could Undress, and Jefre Cantu-Ledesma in gloriously strung-out mode with the same track, while Basinski works his alchemic magick on Lost In Translation to utterly transportive ends, like a sonic analog to Idris Khan layering myriad desert panoramas.
Hidden Operator and Samo DJ indulge a rugged digi dub session on Kings Chamber
Four wonky dancehall sidewinders ranging from natty acid dub and Skweee-like bumps to ruddier dancehall mutation with sloshing tablas, and one wicked bit sounding like late ‘90s Lenky productions.
Carsten Nicolai’s Noton present a masterclass in minimalist electronic discipline with Mika Vainio, Ryoji Ikeda + Alva Noto’s powerfully future-proofed Live 2002 performance, recorded at Newcastle’s Baltic arts centre.
The only known recording of the trio, as far as we’re aware, Live 2002 documents three visionary artists in seamless, indivisible collaboration segueing from sublime drone darkness (Movements 1) thru what sounds like a massive computer server centre playing dancehall (Movements 2 + 4), to fiercely dense electro dynamics (Movements 6) and passages of purest, rolling techno pressure (Movements 8), intercut with bodiless, beatless electronic frequency massages.
Being familiar with each artist’s respective, individual catalogues, we’re pretty astonished at the level of democratic control between the three singular producers. While it’s maybe possible (or pedantic) to pick out who’s doing what, and where and when, ultimately the 45 minute performance is a lesson in subtlety and restraint at the service of generating powerful, coolly organised pressure systems, without recourse to convention/cliché (delete as applicable), offering electronic sounds at the purest and perhaps even egoless. Definitely no grandstanding doofus in front of a massive IPhone screen filtering dull as fuck doofs here.
Reissue of a soulful reggae burner from Jamaica, 1978.
Produced and vocals by Lloyd Parks - a member of Skin, Flesh & Bones, who sang on some early rocksteady nuggets with The Termites and The Invincibles. Now includes a stack of mystic dubs.
Terrence Dixon in deadly Population One mode with remixes of his early classic Hippnotic Culture, a deeply avant techno session released by Utensil Records in 1995, retweaked for Rush Hour in 2017 - including the Rush Hour cut which inspired the Dutch titan’s moniker.
That cut sparks the set off with a mind-bending cascade of polychromatic harmonic chaos harnessed to powerful kicks, while Warped is tweaked with more 3D geometrics, and Cosmic Drill is given a slippery, iridescent new chassis. Lovechild slips down the nervous system like sonic GHB oils, and the frozen, isolated tones of Lost In Space nails that feeling with unmistakable effect.
Nobody does it quite like this guy. A must check for any followers of forward electronic music.
Very tasty House music from SVN aka half of Dynamo Dreesen, and his buddy SW. This is the sort of done-to-tape analog goodness that might not come across so well as it should on digital samples, but trust us the sounds are sooo lush! A-side is a swinging, fuzzed out bit of House music mastery with bumping Toms and lovely in-and-out-of-focus filtering made for the 6am groovers, while flipside features some truly heavyweight subbass and warmest, lushest vibes. Tipped for the connoisseurs!
Funked-up, colourful Detroit electro, acid and house styles from Amsterdam’s Tom Ruijg aka Tracey, back on Voyage Direct to prove his 2017 debut, the Skyfall EP was no fluke.
While titled after a fine bit of Italian engineering, the Testarossa EP is patently indebted to 313 mechanics, with four tracks nodding firmly in the direction of Drexciya (Testarossa), Omar S (Sidekick), Juan and Derrick (Made My Love), and the Keith Tucker-Ultradyne-Stringray electro axis (Interceptor).
Second in an EP trilogy that will culminate with a compilation CD and a limited edition vinyl box set containing all three EPs
"Harkening back to their 1997 release of three consecutive EPs (Dog On Wheels, Lazy Line Painter Jane, and 3.. 6.. 9 Seconds Of Light), Belle and Sebastian will release three new EPs under the umbrella title How To Solve Our Human Problems, with the first EP coming out on December 8th, the second on January 19th, and the third on February 16th"
Three-way techno hoedown introducing new names to the R&S fold.
North East UK stalwart Steve Leggett puts some squelch underfoot on a skudgy dub of Alone Again for mackem techno producer Bird of Paradise; French duo G-Prod give something more elegant with the floating prog-house of D-Light; and Hermetics pull back to grungy techno with the turbulent surges of Collider.
From dubstep prodigy to spiritual deep house lord of the big rooms, Skream’s done it all.
Now he adds a Fabriclive mix to his teak-effect cabinet of Dubstepforum trophies, running the gamut of swanging, tribal-ish house from Hieroglyphic Being, Sarathy Korwar & Shabaka Hutchings’s Ashrams to tech-house polka from Alexkid, fidget jack from Jon Rundell, a tribal filter house nod to Arthur ‘Artwork’ Smith in Ode To Arthur, alongside the real thing in Santos Rodriguez’s Untitled B2, plus the gospel techno of Floorplan, pure dodgy trance house from Greg Venezia, and token electro tracks by Steve Murphy and LA Synthesis.