The Necks’ dynamo percussionist Tony Buck helms and pushes equally skilled improviser Massimo Pupillo (Zu) to ritualistic drone zones in their densely absorbing debut collaboration
“Atmospheric and pulsating release TIME BEING/UNSEEN brings together, Tony Buck(The Necks) on drums/percussion and Massimo Pupillo(Zu) on bass.
Tony Buck is regarded as one of Australia’s most creative and adventurous exports, with vast experience across the globe. As a drummer, percussionist, improviser, guitarist, video maker and producer, he has been involved in a highly diverse array of projects but is probably best known around the world as a member of the trio “The Necks”.
Massimo Pupillo (Ostia - Roma) is a bass and double bass player and composer. Best known for being the bassist of Zu, which produced bio 15 albums with labels like Atavistic / Touch n 'Go (USA), Southern (EU), Heads (JAPAN), Ipecac Records (USA), TROST(AT) and numerous singles and split with other labels.”
‘United’ is the incredible, ambiguous solo debut of medieval and electronic music hybrids by classically trained viola player Annie Garlid as UCC Harlo. To us it sounds like a baroque take on Arthur Russell's 'World Of Echo' treated with choral riffs.
One of the most striking debuts we've heard recently, ‘United’ introduces a patently gifted composer blossoming after many years playing on other people’s records, from early music ensembles to contemporaries such as Bill Kouligas, Caterina Barbieri and Holly Herndon. In her first solo LP Garlid reconciles these opposing poles of her work without making any concessions to her art, rendering a stellar set that ties up medieval baroque, deconstructed dance music, vaulted kosmische and hauntological ambient-pop in a measured, stately and quietly breathtaking style.
Recorded over six years in Germany, the album started as sketches made during train commutes to work in a Cologne orchestra, and was later finished in Berlin. Across its 8 tracks, Garlid weaves complex contexts into beautifully refined compositions with a preternatural patience and timeless grace that’s anything but difficult to grasp for listeners with little to no knowledge of early and classical music modes.
It’s rare to hear such a diverse yet coherent collection executed quite like ‘United’. From the opening swell of viola, mixed with trickling field recordings, synth, and Garlid’s etheric vox in ‘Ceres’, it’s clear that this is a special record, a fact only reinforced as it unfolds between the subtly daring, detached treatment of J.S. Bach in ‘Bach Gamba F*ucked’, and the celestial vectors of ‘Palimpsest/Too Near’, before the gently pendulous rhythm of ‘Lyricisty of Panic’ begins to pull influence from Baroque, as much as traditional African music and Berlin kosmiche, and ambient arabesque of ‘The Secret Lives of Plankton’ extends into lush synth zones recalling Laurie Spiegel’s ‘Unseen Worlds’.
The other side only gets more intriguing, chiming in with the synthetic serenity of Maggi Payne’s ‘Crystal’ in the floating ambience of ‘June 29th (The Third Space)’, and puckering our nerves with the bittersweet intonation of ’Sumite karissimi’, her synth version of a 14th C. work by Magister Zacharias, whilst ‘Queen Anne’s Lace’ drifts from choral meditation to flanged church bells with a surreal, waking dream quality, and the pulsing arps of her remarkable ‘Áve Giove’ brings the Lorenzo Senni inspiration into tangible focus, yet with that elusive, ambiguously oneiric quality that makes the whole album so subtly transfixing.
Laurel Halo delivers a deadly instalment for DJ-Kicks with her 29-track sequence of zingers from overlapping zones of the ‘floor...
With a mercurial yet gritty flow owing as much to UK as Detroit and Durban dancefloor styles, Laurel wickedly and coherently keeps the mix in flux between alternating patterns, textures and subtly emotive tones, lacing her own exclusive parts and those from Nick León, Rrose and Ikonika, into a Lovelacian jacquard of iridescent allure and intricacy.
Alongside her 1 hour mix, all the tracks are available unmixed, with a big Gqom highlight in Griffit Vigo’s ‘A.C.I.D. (Electronic Gqom Mix)’ and to an extent, in Panda Lassow’s mutant, EU take on Gqom ‘Lachowa’, while the likes of Siete Catorce’s haunting latinx ace for Hypermedium, and Group A’s sprung EBm ace ‘Ketabil’ highlight the diversity and cross-floor unity at the core of Laurel’s dancefloor nous.
The viny 13 track set that takes in exclusive highlights such as Rrose’s nose-drip techno in ‘Cricoid Pressure’, along with Ikonika’s industrial funk ace ‘Bodied (OG Mix)’, Nick Léon’s kinky ‘Pelican Dub’, and Laurel’s kicking Detroit styles in ‘Sweetie’. Elsewhere, you’ll find smart picks such as Group A’s overlooked EBM zinger ‘Ketabali’, a freaky spin on Gqom from Panda Lassow, and Siete Catorce’s brooding swerve in ‘Canto’, taken from his EP for Hypermedium.
Rio de Janeiro’s Ziminino reconcile various nodes of the contemporary African diaspora in a richly colourful album sung in english, portuguese, and french, Bossa pop style, and laced with rhythms from Chicago footwork, Atlanta trap, and UK grime in a slinky Brazilian style accent
“On a sunny Rio de Janeiro afternoon, in one of the city’s hillside Favela communities, Ricô Santana, Rafa Dias and Boima Tucker sat trading Youtube clips of grime MCs in the UK, footwork dancers in Chicago and trap producers in Atlanta, building a friendship that would develop naturally into a creative collaboration. From the vantage point of that hillside, consuming the output of various international black music scenes, the group realized that they shared a desire to use music to celebrate Africa’s contribution to world culture. So they embarked on a journey to create an album, with lyrics in French, English and Portuguese, and with references to a diversity of black rhythmic genres in order to help bridge the gaps that normally separate people of African descent around the world.”
Hearing Plantasia in the 21st century, it seems less an ode to our photosynthesizing friends by Garson and more an homage to his wife, the one with the green thumb that made everything flower around him.
"In the mid-1970s, a force of nature swept across the continental United States, cutting across all strata of race and class, rooting in our minds, our homes, our culture. It wasn’t The Exorcist, Goodbye Yellow Brick Road, or even bell-bottoms, but instead a book called The Secret Life of Plants. The work of occultist/former OSS agent Peter Tompkins and former CIA agent/dowsing enthusiast Christopher Bird, the books shot up the bestseller charts and spread like kudzu across the landscape, becoming a phenomenon. Seemingly overnight, the indoor plant business was in full bloom and photosynthetic eukaryotes of every genus were hanging off walls, lording over bookshelves, and basking on sunny window ledges. The science behind Secret Life was specious: plants can hear our prayers, they’re lie detectors, they’re telepathic, able to predict natural disasters and receive signals from distant galaxies. But that didn’t stop millions from buying and nurturing their new plants.
Perhaps the craziest claim of the book was that plants also dug music. And whether you purchased a snake plant, asparagus fern, peace lily, or what have you from Mother Earth on Melrose Avenue in Los Angeles (or bought a Simmons mattress from Sears), you also took home Plantasia, an album recorded especially for them. Subtitled “warm earth music for plants…and the people that love them,” it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog. Plants date back from the dawn of time, but apparently they loved the Moog, never mind that the synthesizer had been on the market for just a few years. Most of all, the plants loved the ditties made by composer Mort Garson.
Few characters in early electronic music can be both fearless pioneers and cheesy trend-chasers, but Garson embraced both extremes, and has been unheralded as a result. When one writer rhetorically asked: “How was Garson’s music so ubiquitous while the man remained so under the radar?” the answer was simple. Well before Brian Eno did it, Garson was making discreet music, both the man and his music as inconspicuous as a Chlorophytum comosum. Julliard-educated and active as a session player in the post-war era, Garson wrote lounge hits, scored plush arrangements for Doris Day, and garlanded weeping countrypolitan strings around Glen Campbell’s “By the Time I Get to Phoenix.” He could render the Beatles and Simon & Garfunkel alike into easy listening and also dreamed up his own ditties. “An idear” as Garson himself would drawl it out. “I live with it, I walk it, I sing it.”
But as his daughter Day Darmet recalls: “When my dad found the synthesizer, he realized he didn’t want to do pop music anymore.” Garson encountered Robert Moog and his new device at the Audio Engineering Society’s West Coast convention in 1967 and immediately began tinkering with the device. With the Moog, those idears could be transformed. “He constantly had a song he was humming,” Darmet says. “At the table he was constantly tapping.” Which is to say that Mort pulled his melodies out of thin air, just like any household plant would.
The Plantae kingdom grew to its height by 1976, from DC Comics’ mossy superhero Swamp Thing to Stevie Wonder’s own herbal meditation, Journey Through the Secret Life of Plants. Nefarious manifestations of human-plant interaction also abounded, be it the grotesque pods in Invasion of the Body Snatchers or the pothead paranoia of the US Government spraying Mexican marijuana fields with the herbicide paraquat (which led to the rise in homegrown pot by the 1980s). And then there’s the warm, leafy embrace of Plantasia itself.
“My mom had a lot of plants,” Darmet says. “She didn’t believe in organized religion, she believed the earth was the best thing in the whole world. Whatever created us was incredible.” And she also knew when her husband had a good song, shouting from another room when she heard him humming a good idear. Novel as it might seem, Plantasia is simply full of good tunes. Garson may have given the album away to new plant and bed owners, but a decade later a new generation could hear his music in another surreptitious way. Millions of kids bought The Legend of Zelda for their Nintendo Entertainment System back in 1986 and one distinct 8-bit tune bears more than a passing resemblance to album highlight “Concerto for Philodendron and Pothos.” Garson was never properly credited for it, but he nevertheless subliminally slipped into a new generations’ head, helping kids and plants alike grow.
Hearing Plantasia in the 21st century, it seems less an ode to our photosynthesizing friends by Garson and more an homage to his wife, the one with the green thumb that made everything flower around him. “My dad would be totally pleased to know that people are really interested in this music that had no popularity at the time,” Darmet says of Plantasia’s new renaissance. “He would be fascinated by the fact that people are finally understanding and appreciating this part of his musical career that he got no admiration for back then.” Garson seems to be everywhere again, even if he’s not really noticed, just like a houseplant."
Youngsta’s Sentry push the boat out with Icicle’s ‘Raising The Dead’ doublepack of dubstep dreadnoughts
Still beloved in these parts for 2010’s ‘Xylophobia/Minimal Dub’ 12”, Icicle marks distance travelled since then with four parts of precision tooled pressure, smartly working on , off and around the halfstep.
Disc 1 comes cold AF with the scudding synth stabs and guttural wrench of the title tune, alongside the dissonant, feral synth chatter and industrial-strength percussion of ‘NT’. On the 2nd plate, ’Shout Me’ working wailing siren calls into a more hypnotic, loping groove underpinned with beastly midrange snarls, and ‘Noughties Riddim’ isolates the original soundtrack to smoking bans and worldwide financial crashes.
Mutant R&B starlet Lafawndah places her vocals front and centre over bashy, technoid backdrops produced by Aaron David Ross (Gatekeeper/ADR) and others on her debut album ‘Ancestor Boy’, following up her recent link-up with Midori Takada.
“The debut full- length album from Lafawndah, ANCESTOR BOY, released via her own label imprint CONCORDIA, is a bracing statement of intent, heralding an artist unbound in scope, scale, and intensity. She opens 2019 with bold single DADDY, plotting new territory onto her own highly personalized map of influence – a map drawing the club, composition, and pop into thrillingly unresolved, ultramodern erotics.
Lafawndah’s 2018 was filled with myriad musical highlights and successes - including a celebrated performance featuring peers Tirzah, Kelsey Lu and more at London’s South Bank in December, growing from her acclaimed HONEY COLONY mixtapes. Meanwhile her heart-stopping inter-generational music & film collaboration with japanese ambient legend Midori Takada in Le Renard Bleu (with KENZO and Partel Oliva) continues to echo into new forms, with a full production performance titled ‘Ceremonial Blue’ premiering at the Barbican, London in April. And streaming now, her achingly beautiful self-directed video for JOSEPH - a lullaby and an ode to newborn life co-written with Jamie Woon and also featuring on ANCESTOR BOY - has set Lafawndah apart as an independent director with a singular vision spanning multiple media and artforms.
Having in her prior self-titled and TAN EPs upturned geography, in ANCESTOR BOY Lafawndah digs deep to unravel geology, mining emotions of the deep past and future. The album’s physicality is elemental; its memory, mineral. It is a becoming- of- age story for a people yet to come, created out of a need to find the others. In the middle of the album’s sonic and lyrical onslaught is the desire to share the uncertainties of growing up when you don’t belong anywhere. Crafted with the aid of fellow travelers Nick Weiss, Aaron David Ross, and James Connolly,
ANCESTOR BOY’s maximalism- it’s overflow of detail, of feeling, of ideas- serves to amplify a frequent lyrical motif: the sensation that one body, one lifetime, isn’t big enough for what you’re feeling. The record is pregnant with memories shared across more than one mind, recalling the storytelling antagonisms of Nina Simone at her most strident and unpredictable. In response, the rhythmic aggressions of her music have grown even more determined and psychedelic, drawing a line in fire between Jimmy Jam’s turnt industrialism on Control and the furious unease of Red Mecca- era Cabaret Voltaire.
With a palate equal parts chrome and dirt, ice and depth, Lafawndah’s finesse with song architecture imbues the LP with an uncanny addictiveness: anthems loaded with trap doors.
ANCESTOR BOY imagines a pop music that is neither imperial nor local, but a freedom of movement; a residue, perhaps, from the album’s nomadic creation between Los Angeles, Mexico City, New York, London, and Paris.”
‘Fountain Fire’ is Bill MacKay’s second solo album on Drag City.
"The Chicagobased guitarist’s continued sonic journeys in conversation with himself follow a travel-worn map written in his own hand. Bill has followed the trail from familiar confines to unknown places, catalysing a style equally enamored with the traditional and the avant-garde to make his most expansive and forceful music to date. You can hear it in the opening track; as the lava and lakes of ‘Pre-California’ simmer to boiling, Bill assembles a bridge of guitars, layering beams of rumbling acoustic, distorted electric and arcing slide parts.
By leaping boldly from fixed points, he makes synergetic discoveries in mid-air. This is the MacKay writing style in its most evolved state thus far, following serpentine paths within the patterns, lunging in and out of tonality with instinctive flair and a stoic sense of inevitability, forging a sonic mosaic that breathes and grows organically as it fills the space of a song. Yet there is far more here than straitlaced sonic captures of picker’s prowess and captivating harmonic motivation. Bill’s pieces are informed by meditation and memory, impressionistic as cinematic miniatures, inspired as much by filmic and literary passions as by sure-playing hands and always rooted with deep soul and steady intention.
As the pieces move in and out of focus in enticingly hallucinogenic fashion, Bill throws another element into play: a pair of stark and emotionallycharged vocal numbers that cause the hair to raise on the listener’s neck, etched as they are with a haunting and eerie beauty. Alongside the evershifting flows of instrumental colour running through ‘Fountain Fire’, these moments shine blindingly, like mirages in the desert. The fire in the album title is a continuity in Bill’s life - part of his genealogy, his living history, his astrology, the scorching effect of the overdriven slide in the penultimate ‘Arcadia’. It is also a sigil for the chaos around us.
Bill says: “While the record definitely reflects the turbulence and urgency of the times we’re living in, it also takes an autobiographical look back at the upheaval that characterized the nomadic rambles of my formative years. I learned to adapt to this constantly shifting landscape. Grasping the unfamiliar became secondnature, and the impressions made by the unknown rapidly entered my art. The bittersweet sense of fleeting time & place became a hallmark. Now is more of a time than ever to dramatize what matters to us through our art.”
Fractal, warped and decayed new age psychedelia, including bass clarinet and FX by Jonathan Sielaff (Golden Retriver, Dreamboat). Imagine D/P/I and Tomuttontu dissolving BoC and Panda Bear tunes, and you have some grasp of Brin’s elusive charms
“Brin is the solo project of Portland, Oregon based percussionist & sound artist, Colin Blanton. Blanton warps, layers and contorts his samples through sensory percussion to create hypnotic rhythmscapes that bend & tumble through intimate, vignette worlds. Dimensional percussives with gelatinous sonics blend into a blanket of ambience composed of vibrational pools of VHS static. Like an audio journal sourced from his surroundings, Loose Leaf is the personification of the northwest rainy season filtered through a dusty Tascam.”
The in-demand Canadian producer serves four electro-house swingers flush with ribboning melodies and harmonised synth vocies
Launched on his own Verdicchio Music Publishing, Just like his debut album ‘Come To Canada You Will Like It’, Pablo’s first single of 2019 sees him get hypnotically loose and psychedelic, charmingly colouring out of the lines with the spiralling lushness of ‘Without Knowing’, then beautifully messing with the meter in the weightless breakbeat pressure of ‘Toes Unstepped’, before stretching out to full swang, electro-soul style, on ‘Wildest Way To Go’, really taking flight with the filigree weave of arps and rollin bass glyde in ‘Low Wings’.
Wickedly deep, raw and rude deep house and rap cuts from Marquavius McDonald, making his 2nd outing on Galcher Lustwerk’s label
Packing more vibes per square inch than most, the ‘Find Ready’ EP sweetly bobs listeners between their toes and their tush, simmering with warmest Detroit beatdown feels in ‘That Beat’, and more uptempo in ‘Heaven Is In You’, before dealing some special square-bass sauce with ‘Find Ready’, and hustling a perfect late night shimmy in ‘Flo Central’.
Separating Quavius form the rest of the house pack are a pair of ace rap joints; the Miami-dreaming peach ‘Let It Rock’, and the dusky cruiser ‘Fa Sho’, while his vocals also make crucial appearance on the rugged bump of ‘The Gist’.
Bokeh Versions bring freshest, weirdest dancehall to market with Sikka Rymes’ ‘Love Di People’ - a big BIG look for fans of Equiknoxx, Slikback, Vybz Kartel!!!
““Incarcerated deejay touts Sikka Rymes as next big thing in dancehall” say the Jamaica Star headlines; referencing Vybz Kartel and Sikka’s cousin Shawn Storm, all of Portmore’s Gaza Nation dancehall royalty………..
So then we have Love Di People EP: Sikka’s first solid gold release after strings of strictly Vevo hits (‘Life of the Party’, ‘Nuh Change’) lie between his previous hook up with producer Genesis Hull (on Duppy’s 2016 Fresh Clipp’d). Genesis’ prods are pure widescreeen sub-tension and speed - now of Mexico City, he carries Sikka’s flow into gleaming new future chrome jobs of the dancehall chassie, the madness of 00s dancehall returns for global review. In This Time Of Many Dancehall Think-pieces: Live Long And Grow Strong.
The weight of two year’s of Drive demos caused Miro Tape to spontaneously burst into the world on Bokeh last year, we told you it was just a mixtape - Love Di People is the first wax seal on the Bokeh x Duppy Gun relationship, and not the last one of 2019. Founded by Sun Araw and M. Geddes Gengras, Duppy Gun pairs under-cover West Coast producers with Jamaican vocalists like G Sudden, Early One & others from their island HQs in Portmore & Spanish Town.”
LP5 is Apparat’s first release since 2013’s Krieg und Frieden (Music for Theatre), and follows two studio albums, II and III (Mute / Monkeytown) by Moderat, the trio he founded with Modeselektor’s Gernot Bronsert and Sebastian Szary.
"Sublime and delicate, the album finds greatness in small things and in unexpected twists; it joins musical fragments together and glows from the cracks in between. For Ring, it is also a document of artistic insight and autonomy. “I was only able to make the record this way because Moderat exists,” he says. “Having a huge stage with Moderat gave me a setting for grand gestures and meant I could unburden Apparat from these aspirations. I don’t have to write big pop hymns here; I can just immerse myself in the details and the structures.”
Still hymnic, LP5 doesn’t rely on dramatic gestures and theatrical amplification, instead it lives off delicately sculpted sounds crackling alongside filigree beeping and twitching.
Like previous Apparat albums, the new release sees Sascha Ring collaborate with cellist Philipp Thimm and on the alb,um you can also hear trombone, trumpet and saxophone, a harp, a double bass and other strings. Tracks were developed over endless group improvisations and lavish orchestral sessions – some of these sessions are only apparent in the final mix as fluttering echoes, just barely noticeable. The album was recorded in Berlin at AP4, JRS, Vox-Ton & Hansa Studios, mixed by Gareth Jones and Sascha Ring.
From elegiac techno to deep orchestral pop ballads, Apparat‘s work has always had a common denominator: an elegance that embraces and gives nuanced layers of detail and a near universal beauty.”
Sugared avant-pop classic, originally on Lovely Music in 1978, remastered for its 40th anniversary.
“”Blue" Gene Tyranny’s first album from 1978 (originally one of the first Lovely Music releases) is here – beautifully remastered, with new artwork. Blue is a Grammy-nominated composer and pianist who has performed on records by Robert Ashley (Perfect Lives), John Cage, and Laurie Anderson, yet this is quite different.
Composing for what is essentially a chamber rock ensemble, a cast of female vocalists, and himself on the Polymoog and RMI synthesizers, Blue has created a song-cycle that reflects his intensely melodic and free piano technique in a polished studio record. Out of the Blue elegantly combines adventurous New Music technique, the style and appeal of pop music, and the grace of classical music to form an unclassifiable and totally revelatory whole. Endearing, exciting, familiar yet unlike anything else – this is a very friendly record.”
Scandinavian isolationists Deaf Center draw a beautiful pall over this decade with ‘Low Distance’, their first album since 2011’s ‘Owl Splinter’, arriving nearly 15 years since their debut couplet of modern classical/ambient masterpieces; the ‘Neon City EP’ and ‘Pale Ravine’.
Low Distance’ returns Erik Skodvin and Otto A. Totland to the shadowy, wintry depths of their early sound, seemingly sequestered in a loft or creaking wooden house in a place where the sun doesn’t rise for 6 months of the year. Their signature palette of ghostly piano gestures, glacial but knife-edge strings and electronics is employed to expectedly beautiful effect, but it’s perhaps the final mixing treatment, uncannily rendered along vertical and horizontal axes at EMS Stockholm, that really brings this record to life, just as integrally as lighting is to a slow burn film noir.
Endearingly working on low batteries throughout the album, their sense of melancholy is patently apparent and deeply intoxicating with it, diffused through the synaesthetic connotations of rain in ‘A Scent’, and through the clammy skin stroking strings of ‘Entity Voice’ before sublimely relieving tension with ‘Undone’. They then broach more textured, abstract electro-acoustic space in the spectral flocking of ‘Gathering’, the album’s extended centrepiece, before touching on midnight jazz notes, sumptuous subs and extended techniques in ‘Red Glow’ like some meeting of Deathprod and Bohren Und Der Club of Gore, and the barely there yet heartbreaking strings of ‘Faded Earth’ attest to their preternatural skill in getting the most from the barest components.
The last section is just immensely powerful in its stark vulnerability and impending tension, holding its emotive line thru the needling hi-register keys and heavy-breathing strings of ‘Movements/The Ascent’, thru the lingering romance of ‘Far Between’, until the quietly jaw-dropping, beautiful solo piano resolution of ‘Yet To Come’, where the hallucinatory nature dissipates and we’re left with starkly vivid, waking realism implied by the track’s title.
Duster emerged from a cloud of lonely bong rips to take indie rock to the moon, and beyond.
"Scotch-taped guitars toggle between a chorus of brittle winter trees and a blanket of distorted fuzz. The low rumble of a cardboard box being kicked in a dead mall keeps pace in the background, as muffled, sung-spoken vocals ponder the great mysteries of modern mundanity. Three years of home recording accidents and blown-out 2AM studio experiments are spread across four LPs or three CDs, gathering the short-lived trio’s Stratosphere and Contemporary Movement albums, 1975 EP, singles, demos, and other miscellaneous debris into one escape pod, now free to drift in the endless void of space.
Mastered from a mix of crusty cassettes, decaying DATs, and warbly analog tape, Capsule Losing Contact is housed in a moon dusted slipcase with all four albums secured in heavy weight tip-on jackets. An accompanying lyric book guides the listener through Duster’s lo-fi worldview, adorned with the last gasps of an expired golden age as captured on Polaroid and disposable Kodak cameras."
Strong, soulful debut album from Vancouver, CA’s Jayda G, paying tribute to classic Chicago styles in 9 effortlessly distinctive parts - big highlights in the disco come-on of ‘Stanley’s get Down (No Parking on the DF)’, and the brimming broken beats of ‘Sunshine in the Valley’, while ‘Orca’s Reprise’ beautifully points to her new age inspirations...
“The album is a natural progression from a string of EPs both solo and alongside her friend and mentor DJ Fett Burger (Sex Tags Mania), often appearing on the Freakout Cult label the two ran jointly until 2018 and most recently her newly minted JMG Recordings imprint. Also renowned for her high-energy performances as a DJ, the past 12 months have seen Jayda play London’s formidable Printworks venue alongside the likes of Marcellus Pittman, Moodymann and Omar-S; be invited by The Black Madonna to play at her Warehouse Project takeover; and perform at festivals like Field Day, Kala, Melt!, AVA and the xx’s Night And Day.
Growing up some 6 hours outside Vancouver surrounded by an abundance of nature sparked an early interest in biology and the natural world, a passion that has endured and intensified to this day and is inextricably intertwined with her musical output. In 2018 she completed her Masters in Resource and Environmental Management specialising in environmental toxicology, wherein she investigated the effects of human activity on the Salish Sea killer whales (orcas) of Vancouver, in her native British Columbia. It was also the year that she finished recording her debut album as Jayda G: “Significant Changes”. The title of the album was the most used phrase in her final thesis and exemplifies how intertwined her work in science is with her work in music. “I’m trying to bring my two worlds together… to bridge the communication gap, engage people in a new way”, she explains. “I don’t know if people in the electronic music world will want to talk about the environment but I think I should try! I think it’s our duty to use a platform like this in a positive way, that’s our social responsibility.”
“I just want people to feel not so hopeless… there's a lot of really depressing things going on, but people are doing good work out there and finding out really interesting stuff, so I just want people to be informed of those things, so that they feel inspired in whatever work that they do.””
Something different from Mister Saturday Night Records, introducing the infectious attitude of Brooklyn-based rapper Taphari - a big tip for fans of Mykki Blanco or Lotic
“Taphari was born in Brownsville, Brooklyn, raised by his Bajan grandma, millennial mother and Rastafarian father. He's not much more than a kid, but he's wise beyond his years. Bold and malcontent, Taphari's a flower growing out of the concrete. Focus is his debut single.”
MFM hail a keenly anticipated 2nd survey of electronic music from Brazil with this teaser revolving a massive percy, Individual Industry’s addictive ‘Eyes’, and the worming funk of Bruhahá Babélico
We serendipitously stumbled across Individual Industry’s ‘Eyes’ via searches for Pink Industry some years back, and it’s a joy to now see it properly available. Written and released by Alex Twin and Lilian Vaz’ cult band in 1993, it’s a perfectly icy mixture of early trip hop, ambient-pop and shoegaze lit up with Lilian’s achingly spot-on vocal, which, for us, defines a dark ‘90s sexiness we can’t get enough of. For us it’s 100% essential!
London five-piece Housewives return for more anarchic genre-blending adventures on their second LP, Twilight Splendour
"Bringing to mind the digital meditations of legendary producer Oneohtrix Point Never, Twilight Splendour presents a love letter from an early AI to its owner, its concept-led songs strewn with “ecstatic messages of frustration and a desire to connect”.Since forming five years ago, Housewives have drawn from such diverse scenes as post-punk, jazz, drone, electronic and avant-garde. 2013 saw the release of an eponymous debut EP via Brighton label Faux Discx, while their first-full length record, ‘Work’—recorded at a barn in a desolate corner in the south of France—arrived two years later.
2017 live album FF06116 marked the band’s first collaboration with experimental saxophonist Ben Vince. Following on from these early statements, Housewives are now set to unleash their game-changing new album—turning away from performance-based writing, the human, and facing the cold light of computers head on."
Playful new wave/proto-house moves from Vanessa Worm, Optimo’s new signing, dancing from the woozy jack and cute vocals of ‘I Did A Lava Dance’, to the discoid house of ‘Rando M’, and the simmering, psychedelic swivel of ‘3 222’.
Shlohmo anticipates the eschaton as he knows best; with an album of slouchy Emo-trap
“The album is vaguely about the end of the world, but from the viewpoint of smoking on the couch during the extinction event. Reading a nice book while the meteor hits. The fake peace of insularity during chaos” Shlohmo”
Glyphic synth music and jagged, future-ancient, jazzy machine grooves from Cornish electronica project PoS
Making their 4th orbit of Mordant Music, following an enigmatic self-released tape in 1996, ‘From AtoM’ is a brilliantly curious confection taking in everything from star-eyed synth works to a superb, diverse haul of rhythm-driven excursions somewhere between early Rephlex Braindance, Irdial Discs’ loose and freaky machine funk, and new age ambient house. Make sure to check for the very SAW 85-92 vibes of ‘Gold’, the swingeing swerve of ’850 Grill’, and the frothy charms of ‘Visions of Asphalt’.
Matrixxman goes proggy and Global Underground with his ‘Highway’ remix of Erol Alkan’s ‘Spectrum’ , while Machinewoman reduces ’Silver Echoes’ with a minimal tech house slink, and then faster, druggier in the ‘True Machine Woman Remix’.
Dread-filled, tribal psych jazz excursions from Portuguese drums/synth duo Paisiel for the Milhões de Festa label and Rocket Recordings. RIYL Colin Stetson, Gnod, Tomaga
“Based on an individual exploration of the sound and on the expressive possibilities of their instruments, the duo’s music seeks to join and systematize their influences, albeit without any obvious correspondences or affinities – resulting in textures and abstract melodies propelled by a mechanical and existential percussion that morphs into a kinetic trance.
Heterodox and digressive musicians, they move freely between the repetition of krautrock and techno, jazz, experimental music and other new musical categories, João Pais Filipe and Julius Gabriel create radio-graphic sounds that inhabits somewhere between the reception and the emission of a signal, like a cosmic telephone exchange.
This three track album was originally released in 2018 as a ltd edition cassette on the great Portuguese label Lovers & Lollypops. And now Rocket Recordings are extremely proud to be releasing this unique recording on a ltd edition colour vinyl and across all digital channels.
In 2018 João Pais Filipe has also found the time to release a stunning and highly acclaimed solo album and a very exciting collaboration with fellow drummer/percussionist, and also very talented Valentina Magaletti (Tomaga/Vanishing Twin/UUUU) called CZN.”
If Clams Casino and Burial did a ting with Arca, it may sound like Blue Angels’s music for UNO
There’s still hardly any info about the Maryland-based producer online, but his music and moniker betray an introspective soul, with achingly well-poised R&B vocals laced into the clipped 2-step of ‘Gil’ and the sylvan swing of ‘Cryin’, while ‘Ceo’ shuffles from halfstep torpor to a serotonin-replenishing ending, and ‘Dislocation’ comes off like Arca trapped in a cold cubicle with only an acoustic guitar and his voice for company.
Hieroglyphic Being and Vakula kick Pedro Vian’s ‘Vacant Boat’ song into deep and psychedelic house styles
Jamal Moss aka Hieroglyphic Being vibes out with ‘Flexible Girl’, turning in a restlessly sparking and gasping piece of raw Chicago house nous whereas Vakula opts for the slow burn with his low-key and ruggedly offset spin on ‘Darwin’s Nightmare.’