FFT exert exacting, fresh spins on Heinrich Mueller electro styles for TTT after crafty introductions made in recent years on Uncertainty Principle and Super Hexagon Records
Taking cues from any number of Mueller-associated projects (Dopplereffket, Arpanet, Der Zyklus), but adding their own sliver of soul, FFT impress on both parts, smartly playing with anticipations via the icy intro and crisp jump-start into 2.1-stepping rhythms and wavy arp tendrils on ‘Regional’, while ‘Loss’ sets out a looser, mutable framework of synth-pop riffs and clinically cut rhythms recalling Monolake circa ‘Invisible Force’, only to calve away into something like a trace of Uwe Schmidt’s ‘Pop Artificelle’ album.
Recital at their very best here with an unmissably gorgeous 1st vinyl issue of music by Rip Hayman; - a pioneering forerunner of ambient music, and pivotal member of NYC’s downtown music community since the ‘70s, beloved for his holistic embrace of sound in its myriad forms
Working at the point where avant ambient imagination meets the raw beauty of nature, ‘Dreams of India and China’ is a collage of Rip Hayman’s archival field recordings and hard-to-find tape releases dreamily layered and sequenced by Recital boss Sean McCann. Overseen in production by Hayman and his longtime foil Charlie Morrow (himself a subject of previous Recitals), the results speak to a sublime, un/consciously utopian conception of sound as environmental, borderless and timeless, and most of all a rich source of happiness and pleasure.
From an itinerant family background in the military which took him to all corners of the globe, it was the music and philosophy of India and far East Asia which really prompted Hayman to make music. He joined Columbia University in the late ‘60s but was soon put off by the restrictions of Serialism, favouring to solder electronics and make music at the Columbia-Princeton Electronic Music Centre. Then the Fluxus movement hit, radically expanding the notion of what is art, leading him to the downtown lofts and galleries alongside John Cage, Phil Corner, Petr Kotik, Yoshi Wada, and in 1975 he set up both EAR magazine, and the EAR bar, which would host early performances by Arthur Russell, Peter Zummo and even Queen Latifah.
Immersed in the truly avant culture of the NYC in the ‘70s, Hayman’s own music understandably formed its own, wide-reaching logic, incorporating performance, events, and deep listening with a “tangible spirit based on the awareness of sound, mingling meditation, mystery, humor, and human response.” In Sean McCann’s sensitive layered collage of Hayman’s recordings, we hear his intentions clearly manifest in dreamlike form, drifting from recording of Indian nose flute and Tibetan monk thigh bone trumpet, to snatches Bach’s Goldberg Variations played at half speed during his Dreamsound events for sleeping audiences, and his Bell Roll performance - rolling down a hill wearing a suit of bells - together with intoxicating field recordings of the Ganges and temple drums in Rajasthan.
Quite simply ‘Dreams of India and China’ is one of the most enchanting records we’ve heard in some time, a slab that bears many repeat listens, where listeners will discover new layers and life with each return. It’s hugely recommended.
Basses Terres make incursions on rugged psychedelic dance terrain for Brothers From Different Mothers, with results landing somewhere between the 3rd eyes of Black Zone Myth Chant, Ramzi and Low Jack
The 6-track ‘Naked Light’ EP is a salty appetiser for Basses Terres’ follow-up to the well received ‘Counting Pulsations’  album. In low-key, slunky style it snakes from the grotty but jazzy sweat lodge bends of ‘Wilfred Doricent’ at the front, thru the windswept electronics of ‘665 Moths’, and the pensive, pendulous electro of ‘Hewbi No Tori’, into a sort of sludgy dancehall crouch with ‘Deliæ’, before the wind meditation ‘Yoru No Satori’ featuring Mika Oki cleanses the palette for the spirit-refreshing splash and head-kissing pads of ‘Sentiment Océanique’.
First ever reissue of a zinger-packed disco album from 1980. Check ‘Disco Thing’. If you’re aren’t dancing by the end of the clip, go see a doctor.
“Killer private modern soul / disco funk LP from San Diego released in 1980 on Aidqueen Records.
No fillers on this one! It contains dancefloor winner “Disco Thing”, the crazed ode to debauchery “Get Down Party “, mellow soul ballad “Oooh, Your Love”, the wicked instrumental with magic flute “Seaquence” and the brilliant jazz-funk flavored modern soul tracks “Loving” and “Life”.
The rest of the record is made up of high-level soulful funk movers.
Amazing LP from the beginning to end, no wonder it became hard to find and so highly sought after.
Finally available again, fully licensed and remastered, with original artwork.”
Luke Younger's Alter label limns the underground zeitgeist in ‘Alert!’, a compilation starring gems from Teresa Winter, Anna Peaker, Moin (Raime), Mumdance, Space Afrika, The Modern Institute and many more beside.
Entirely sourced from the UK, ‘Alert!’ could be heard as a reading of pre-Brexit or Brexit-limbo mindsets, if you’re that way inclined, or more simply as a cross-section of the UK corpus at the end of a strange decade. Either way, you’re going to get a lot of canny, unexpected gear, ranging from cold bedsit blooz thru to freeform techno, twitchy post-punk and modular n0!ze gristle.
We’re naturally drawn to highlights in Teresa Winter’s unpredicted techno pounder ‘A free woman in an unfree society would be a monster’, and also to a sterling example of Teresa’s sometime collaborator and Leeeds peer Anna Peaker on the elegiac organ etude ‘Helicidae’, while Space Afrika nest the tactile ambient fragility of ‘Yuly’, and Mumdance impresses with nerve-chewing modular freakout ‘Path of the Seer’ - big tip for fans of The Sprawl.
Elsewhere the quality doesn’t let up: Raime’s Moin and their drummer, Valentina Magaletti’s Tomaga, both turn out tuff, jagged post-punk steppers; Acolytes catch a properly febrile vibe in the blown-out gabber kicks and writhing electronics of ‘Feelings’; Helena Celle drops a playful stripe of computerised EBM; and Glasgow represents with a barrage of saltiness ranging from The Modern Institute’s scally techno banger to an apoplectic Apostille in ‘It’s Not Right’, and an absorbing oddity by sound artist and radio producer Mark Vernon.
Egyptian electro chaabi powerhouse Islam Chipsy and Eek hit 6 deadly ways with Cairo’s 100 Copies, following on from the ravenous reception to their incendiary live LP and ‘Kahraba’ side for Nashazphone
One of the fiercest live acts on the circuit right now, Eek and their flamboyant, synth-wielding frontman Chipsy Islam place the experience of years of rowdy shows at the service of their strongest studio recordings in ‘Kahraman’. The six songs firmly spell out the range of dual drummers Mahmoud Refat and Khaled Mando and their electronic component, touching on techno-folk psychedelia in the anticipatory ‘Day1’, before cutting loose like the wildest house band in Arabia with ‘El Daynasour’, and bringing it down to their slowest hustle ’n grind in ‘Fast Track’.
They’re on peak form in the rattling stepper ‘El Zantor’, and at best in the swingeing groove and veering microtonal flux of ‘Saba Zamzam’ and the sparring closer, ‘Zardana’ with Chipsy twirling some of his hottest vamps.
Tuff and moody dance trax from Mexcio City’s Wasted Fates, drawing on his experience volunteering during the 2017 Earthquake, as well as his country’s ongoing Narco War, with tense yet diffuse drum programming and shifty atmospheres in his debut LP for the NAAFI powerhouse
Joining the likes of Debit, Paul Marmota and Lechuga Zafiro on the keenly watched label, Wasted Fates follows the more playful styles of his football-themed ‘Mundialero’ EP with a increased sense of purpose and barely-restrained aggression in ‘Turbio’, gradually escalating the seething tension from the slow start of ‘Clinica’.
The glaring darkside bass of ‘La Excavación’ follows, before really cutting loose and uptempo with the fierce drums of ‘Voltaic’ and toggling the tension between noisy jabs in ‘Odalisca’, a proper grimy scudder named ‘Implosión’, and a fusion of balletic rhythms and dramatic synth arrangement in ‘Mortifero’ feat. NAAFI label boss Lao, then burning darkly until the end with cinematic synth strokes in ‘Trastorno’, and the bolshy energy of ‘Bestia’.
‘Fog Horns’ is a much rawer, almost aggressive, panic-raising answer to Marshall Ingram’s seminal ‘Fog Horn Requiem’. The artist really uses the sound as dense blocks to be intersected, conjuring an anxious state that makes us feel as though on a collision course between massive objects in low visibility...
“French sound artist Félix Blume keeps pushing the boundaries of field recordings for our enjoyment. “Fog Horns” captures the sounds of boat horns in Piraeus, Athens, Greece, the port city that serves some of the most important ferry routes in Greece nowadays. Yes, boat horns are annoying, sometimes disturbing and even absurdly disrupting if you live in a port city or one that is blessed with the arrival of cruises. We all know that. But we also knew that recordings of funerals could be tricky, and Félix Blume pulled a gem out of last year’s “Death In Haiti - Funeral Brass Band & Sounds Of Port Au Prince (CREP51)”.
And he has done it again. The A side reveals a long track recorded during a fog horn concert whilst side B features three 'remixes' of the same recordings, paying respect to what Ingram Marshall did in “Fog Tropes” in three different 'movements'. In a way, B side sounds like the perfect soundtrack for the recent remake of “Suspiria”. But Thom Yorke got in the way.
Jokes aside, there’s something magical about these horns. In the eighteen minutes of the first side, Félix Blume explores the concept of a concert played by those horns. The horns dominate but sounds of the surroundings create a perfect balance to the drone hysteria. The surrounding sounds are the heartbeat of this track. The horns are the metal section of an orchestra, while the rest works like the strings. Hidden melodies are revealed when you listen to this with your full attention, and the more you do it, the horns become less present, vivid. It’s one of the many crafts of Félix Blume, the more you live with his music, the more you focus outside the plot.
If those eighteen minutes sound tremendously real, the three tracks on the other side feel like a horror film. The warmth disappears to become cold ambiance, beautifully textured and enigmatic sounds take over. Horns are still heard, but they’re a different kind of horns. It seems that Félix Blume is playing with our perception, from bliss to horror. A honk will never be the same again.”
CREEP’s Lauren Flax puts her back into a trio of ace hard working buckers for The Bunker NYC
From the ground up she tills heavy drum machine grooves freaked with corkscrewing FX, but always keeping it solidly direct.
She comes with the bare bones jack attack of ‘One Man’s House Is Another Woman’s Techno’ next to the rictus bang and acid blips of ‘(You Have to) Work’, echoing the steely sentiment of Marie Davidson’s anthem, before ‘A Deeper Side of Jack’ does it salty Gherkin Jerk style, compatible with your punchiest Matrixxman bangers. 10er says she does a UTTU 12” before end of 2019.
Sleazy, night-stalking house trax from Romania’s Khidja for NYC’s DFA
Opener ‘Don’t Feed the Animals (Hiding In Your Room)’ channels John Carpenter into the club; ‘Devil Dance’ massages muscular modular tones into a clipped and trippy swing; ‘I Can Never Relax’ weaves EBM inspirations into a throbbing electro-house chassis; and ‘I’m So Bored’ works splashy, fluid percussion into a sizzling darkroom frolic.
“Having established themselves with previous releases on labels like Hivern Discs and Malka Tuti, Khidja get darker, dubbier, and more twisted on In The Middle Of The Night. We find the record in the witching hour, and the tracks represent the cycle of nighttime mentalities, revealing the various directions the mind can wander in the place between consciousness and unconsciousness – mania, paranoia, even boredom. It all makes for a raucous dancefloor experience, with the duo bringing something new and heavy to the DFA roster.”
Mondkopf yields the lushest, cinematic iteration of his current style with ‘How Deep Is Our Love?’
“For more than a decade now the prolific Parisian producer hasn’t ceased to surprise us with his compositions, constantly treading new ground with artistic bravery and curiosity. At times extreme, at other times méditative and always complex, his music is never easy-access. In recent years his work has taken a clear turn towards a more ambient, intimate, less abrasive style.
Based on minimalist instrumental improvisations, ’How Deep Is Our Love?’ will become the soundtrack for the new film adaptation by Diana Vidrascu of the Kafkan play, 'The Silence of the Sirens'. Composed of four long, bright, poetic, contemplative pieces, which grab you by the heart strings and keep a tight grip until the very last note.
It’s an epic, grandiose album, which rings out with an unfathomable but extremely touching language.”
20 years since his Planet Mu debut, Leafcutter John brings his ecstatic prog-electronica virtues to Border Community for a bright and spacious album of driving krautrock rhythms and intricate melodic fancy wrought around field recordings of the Norfolk coastline and the North Sea
“During the summer of 2017 exiled Yorkshireman Leafcutter John returned to his one-time home of Norfolk (having graduated in Painting from Norwich’s School of Art and Design back in 1998) and set out on foot along the sixty mile section of Norfolk Coast Path which runs from Hunstanton to Overstrand, trusty audio recording device in his pocket. “And very soon the physical act of walking began to make me think about music,” he explains. “My footsteps dictated the tempo and imagined melodies accompanied me as I slowly moved along the increasingly wild and magical stretch of coastline. Stresses of the city were replaced by the fall and rise of the North Sea and endless salt flats. Sounds from the environment filtered in and I would stop often to record what I was hearing around me.”
Back home in London, the hours of amassed field recordings would form the backbone and inspiration for a whole album worth of outpourings from John’s six-years-in-the-making modular synth. From the evocative sound of sea birds on Pillar and Stepper Motor to the colourful conversation from a country pub in This Way Out, the apposite selection of samples which made the final edit provide the perfect jumping-off point for John’s synths to soar with abandon, at times uplifting, frenetic, haunting, hypnotic or meditative, but always atmospheric and with unstoppable propulsion.
“Above all else, I wanted the album to exude a sense of constant forward motion but at a very human scale,” says John. Thus drummer friends Tom Skinner (Hello Skinny) and Sebastian Rochford (long-time collaborator in the twice Mercury Prize-nominated band Polar Bear) were roped in to lend their suitably clattering human momentum, on Doing The Beeston Bump and Dunes respectively. Working in tempos to match his walking speed throughout - “whether trudging along a rainy shingle beach or running up wildflowering clifftop paths” - Yes! Come Parade With Us is perfect traveling music, and once unleashed upon the world is sure to provide the soundtrack to plenty more journeys to come.”
Japan’s Takashi Wada & Cologne’s Roland Kaiser Wilhelm yield an ace, minimalist electro live set recorded in Kraftwerk’s Kling Klang studio
We’re not made privy to how or why the pair got access to one of the most famous electronic music studios of all time, but they did, and the results are class, rolling out 54 minutes of pendulous rhythm machine permutation that start out spare, frayed and decimated with white noise, but eventually resolving in a ruggedly deep electro-techno coda.
Proper Bristolian dub mutations from Kinlaw on Heith’s Haunter Records, mulching at pushing the style’s envelope into crushed, stressed-out trip hop noise (‘Agglestone’), Rabit-like Screw (‘MG 1666 DD)’, salinated 4th world styles (‘Rake’), and grimacing industrial swagger (’Trtipt’)
“Hamish Trevis AKA Kinlaw hails from the Bristolian underground. The same scene that, in recent years, has given the most vital contribution to the freshness and vitality of a fringe sound suspended between the many clashes, deconstructions and reconstructions of dub and UK club music, radicalized through a diffuse interest in noise-tinged punkish grit. It should come as no surprise, then, that Kinlaw’s own music sounds both menacing and playful, weighing in with relentless slow beats and cranky lo-fi textures. on “Drax”,—his first Haunter Records release and second part of the label’s limited 10” dubplate series—the always cavernous, hyper-saturated bass seem to engulf everything, sticking to every other sound like some nasty form of sonic mud. The hypnotic percussions and sparse, hazy bits of melody make for an overall atmosphere of industrialized narcosis. Franco Franco’s vocal intervention in the first track only adds to the dankness of it all, with its confused deadpan delivering a dose of true lowbrow nihilism in Italian.”
Detroit and Berlin souls enmesh as Terri McQueen aka Whodat meets Berlin’s Viola Klein on a deeply playful Workshop session
Coming from Detroit’s YDR313 2.0 record shop and with an Uzuri 12” in her back pocket, Whodat brings a rooted Motor City soul to Klein’s rugged flavours op-enly indebted to the likes of Theo Parrish and Marcellus Pittman.
On ‘Funeral Song’ they catch a melancholy breeze with blue but celebratory chords on a wickedly swung groove offset with hiccuping vocal to get the ‘floor in a lather. With ‘Reprise’ they cut a few shades deeper, wriggling right inside the groove with crafty bassline dancing all around and off the beat, underlining and charging choice vocal samples about strength in unity. One for the allday sunday crew!
The artist fka Ovuca works around jacking and raving techno patterns within the Colundi Sequence tuning framework for one of the series’ strongest additions
Recalling everything from Mika Vainio’s early Ø classics to vintage AFX and Mike Dred’s Kosmik Kommandos, this is a super strong batch of psychedelic dance music for the aerobic mystics. Proper tangy flavours for all trippy ravers.
Industrial techno from Aussie boscher Tymon Balakirev for the Perc Trax stronghold
Pulling no punches, Tymon delivers for the headstrong between the distorted kicks and noxious tension of ‘Eternal Return’ and the bread-necking dose of mighty white delirium in ‘Rioted’, while ‘Haunted Shipyard’ just about allows some swing into the mix for the funky cunts.
Plaid shows flashes of their timeless appeal in a pair of rude but sweet, offbeat dancefloor aces for Warp
On ’Maru’ they follow a fine transition from dry but rhythmelodic drums thru glacially layered pads into piquant, melodic sequences and keening harmonies with hypnotic style shy of anything too tricksy or show-off. But matters gets more interrupting and ragged on the B-side’s ‘Recall’, where they cough up a mad tangle of ripping textures and convulsive drums comparable to a viscous version of Ueno Masaki’s ‘Vortices’ run roughshod by Shapednoise.
Lieven Martens (Dolphins Into The Future) proves an ideal candidate for Longform Editions with ‘Deo Gratias Triginta Sex’, a 30 minute work of processed choral polyphony, turning 18 singers into an orgy of harmonics and writhing, withering rhythms with stop-in-your-tracks effect
“Johannes Ockeghem (1410 – 1497), born in Saint Gislain - Hainaut, Belgium - and for a while living in Antwerp, wrote one of our nation’s greatest hits. Deo Gratias is a canon for 36 singers and apparently he wrote this particular song as kind of a joke or game; quickly “between the soup and the potatoes” as we would say in Dutch. Some say Ockeghem had in mind that a much larger number of people should perform this piece, but it was considered too complicated to find enough experienced singers, to make the piece correct measure-wise, et al.
Let’s open Logic X Pro and try and see if we could help Ockeghem to make this vision a (simulated…) reality.
Since this is a creation for deep and / or extended listening I selected a sligthly longer version of the song rendered by Paul Van Nevel and the Huelgas Ensemble, and layered and sequenced this 36 times in row. Every new sequence starts more or less according to Ockeghem’s original transcript. Small detail… in the version of the Huelgas Ensemble no more than 18 voices are singing contemporarily. As soon as the first voice of the fourth (bass) chorus reaches its final note every voice "freezes" at its current line in melody…
The layering of these sounds in the computer let the overtones shine and the human breathing and whistling create pretty rhytmic parents. The project shows that Ockeghems original idea is kinda genious since however you layer this music, the final result, be it a bit dense and somewhat conjested drone, is still very harmonic. Inspiring.
At first i started cutting, trimming and pitch correcting parts, making the piece a more correct rendition of the original four canon idea. But then i realized that the best manner to execute this version is to keep it simple and short, between the forementioned “soup and potatoes”. So here goes with all the gentle flaws…
At certain points you hear 11 times the same part overlaid. Thus 11 x 18 singers = 198 singers! Here’s to making Ockeghem’s grand vision come to (a simulated…) life.”
Longform Editions coax out a magnificent, hour-long ambient banner from Robert Cox’s revitalised Rimarimba project. Ideal for taking a stroll and letting your head unravel
“I live on the coast. The inspiration came from daily walks by the sea. The background ever changing drone is the restless sea, the cellos are the breaking waves, their 'gritty' sound quality is the pebbles washing back down the beach and the higher pitched twiddly things are the circling sea gulls. Although 'real' waves have a frequency of 7–8 per minute and, yes, approximately the seventh one is often the biggest I have slowed mine down as they sounded too fast at 7–8/m. Think of these as long Pacific rollers breaking on a distant shore.
Unlike most of my compositions this one has no percussion.
The whole beast was made from acoustic and electric guitar parts recorded onto a Tascam DP32. Many had their initial attack removed and some were looped on an Electro-Harmonix 45000 looper. The 'strings' were produced by feeding some parts through an Electro-Harmonix Mellotron pedal. A Yamaha SPX 2000 processed many of the parts in various unspeakable ways until they 'felt' about right. A Lexicon Reverb worked its magic as only Lexicon can. About half of the parts play in reverse at various points. The guitars used were a Furch SJV 121 Lux acoustic 12 string, hand made in the Czech Republic in 1997, and a Gibson ES335 electric, made in Nashville, USA in 1987. Both were tuned in open C – CGCGCE.
This is an age of ever shortening attention spans driven by the constructs of our online world. News is delivered as headlines to skim across with little in the way of in depth explanation or examination. The so called 'long read' pieces in online news sites are no more than the first two columns of a four page article in the Sunday newspapers from a few years ago. Ebooks do not convey the same experience as print on paper. Without the physical presence and weight of a book digital information can feel as ephemeral as television advertising. Wikipedia, good though it is, does not allow for the chance discoveries that come from turning the page in a reference book or encyclopedia. Saving a link in order to return to an online article is not the same as remembering the piece about electrons is about one third of the way through the volume E–G a few pages after the picture of the Egyptian statue. Whilst static art is still, well, static and you can gaze upon and contemplate a painting or a sculpture for as long as time permits how many do so when we are conditioned by the predominance of moving images.
Slow cooking is a healthy reaction to fast, commercialised, food. Likewise both walking and cycling (slow travel) rather than driving make for a deeper experience of the journey.
A long piece of music be it a symphony, an ambient work or a jazz suite creates a mindscape in which the listener can lose and find themselves as their attention wanders and returns. It can trigger a memory in that moment at 37 minutes which is different the next time they hear it because they almost inevitably arrive at that moment having taken a different path through the piece. Today the bass line, tomorrow the percussion figures, the day after the unfolding harmonies. This takes time to achieve, time that is not available in a three minute pop song. The listener who allocates enough of their time will find an hour immersed in a piece of music is at least as beneficial as a long soak in a warm bath.”
Finnish psych sorceress Laura Naukkarinen aka Lau Nau weaves a cats cradle of crystalline electronics recorded at EMS Stockholm across her half hour-long work ‘Amphipoda’ for Longform Editions
“Lau Nau (Laura Naukkarinen) composes music for films, theatre and albums, makes workshops and sound installations and travels around the world performing. In her work she combines electroacoustic approaches, found objects, field recordings, folk instruments, classical instruments, analogue synthesisers and her own voice. Her music is imbued with a cinematic breadth of vision and her idiosyncratic, finely honed sound world builds on fragile, spectral otherness. She has been nominated for various prestigious prizes in her home country Finland and won the main Femma prize 2018 with her fifth album Poseidon, released in Europe, USA and Japan.
Lau Nau says: “The piece is recorded at Elektronmusikstudion EMS in Stockholm with their big Buchla 200 system in 2018. I was there for a short residency studying how to compose the changes in the Baltic Sea into music. This composition is inspired by how the biomass of plankton vary in the Baltic depending, for example, on the entering saline pulses from the North Sea, the oxygen levels and the temperature of the water. The work has been supported by The Arts Promotion Centre Finland, Taike.”
Experimental field recording artist Kate Carr joins the finely programmed Longform Editions with a minimalist, lower case 36 minute session...
Traversing hydrophonic sounds to filigree textured electronics, following a fine line between elemental, natural forms and more menacing, looming, aleatoric sources
Genesis Breyer P-Orridge, controversial occultist and iconic founding member of COUM Transmissions, Throbbing Gristle and Psychic TV, brings to a close a series of collaborations with Carl Abrahamsson which now spans three decades and which finds P-Orridge narrating over immaculate ambient tapestries, delivered at time-dilating pace.
Electing to use their own names, ’Loyalty Does Not End With Death’ is the final part of a spoken word trilogy initiated in 1990 with the Psychick TV & White Stains side ’At Stockholm’, and proceeded by their ‘Wordship’  album as Thee Majesty & Cotton Ferox, and is the first appearance the pair have had together on vinyl. It’s the sound of two cosmically-travelled minds crossing paths again after a long absence in which they’ve been able to chew over the bare essentials - love and magick - via vibrant poetry and beautifully charged forms of ambient music.
In nine parts they conjure a warmly meditative space, where Abrahamsson’s characteristic tones, cut-up electronics and gentle rhythms comfortably lay the bed for Genesis, who inhabits and enlivens the pristine scenes like an observant dark interpreter, translating the incomprehensible and revealing the divine through their psychedelic prism.
The spellbinding results were recorded in New York and Stockholm 2017/18 and could feasibly have occurred at any point between 1990 and now. They are blessed with a pacing, intuition and timelessness that pays testament to an enduring creative friendship, taking the form of writing, interviews, photographs and film for nearly 35 years, bringing to resolution an almost life-long arc.
Plaintive, eerily plangent pop dirges from Carla Dal Forno, making good on her newly minted Kallista label after her immaculate run for Blackest Ever Black.
On ‘So Much Better’ she saddles up a shuffling lament, poised like a lighter Nico with introspective lyrics about the romantic and the mundane laid over a spacewalk waltz groove.
The instrumental ’Fever Walk’ is more lugubrious, with leaden drums and burnt-out bass underlining ghostly synth notes and the faintest glimmers of her voice.
Proper peach, this one.
Anna Homler presents a new album of quietly inquisitive collaborations following that acclaimed RVNG Intl reissue of her eponymous 1982 debut, which famously depicts her Breadwoman character (imagine John Merrick channelling an ancient babushka) providing a combination of inimitable gauzy electronics and vocal abstractions. On this new album she hands co-production over to PAN-affiliate Steven Warwick aka Heatsick, Gang of Ducks’ Alessio Capovilla, Mark Davies alias The Pylon King and the late Steve Moshier, who produced the original Breadwoman tape.
In opener ‘O’sa Va’ya’, Capovilla buoys Anna’s starkly impassioned cry with floating organ passages to utterly transportive effect, a kind of detached mirror image of This Mortal Coil / Liz Fraser’s take on 'Song To The Siren’, while Steven Warwick lends a more retro-futuristic melody to ‘Nepenthe’, named after the ancient Greek drug of forgetfulness, but ironically working as the most memorable piece on the album, framing Homler against a divine choir of herself and undulating, iridescent arps.
Steve Moshier appears posthumously on the album’s standout title track, underlining Homler's prelinguistic vocal with 15 minutes of whirling ambient passages that do much to highlight her instinct for inescapably formless shapes; a genuinely alien, multi-faceted and uncompromising exercise in sound art that we still can’t fully get the measure of several listens later.
Astral Industries serve the equivalent of a warm cup of camomile while two thumbs gently massage your temples with Sonmi451’s ‘Nachtmuziek’ suite of drifting modern classical ambient.
“Belgian artist Bernard Zwijzen, aka Sonmi451, has for over a decade now been quietly making some of the most luscious ambient we’ve heard here at AI-HQ. We are delighted to announce him as part of the Astral family with this six-track EP - Nachtmuziek - sit back, tune in and drift away.”
Two of the great unsung protagonists binding Manchester’s DIY scene unite for this limited edition release taking in some of the many multidisciplinary interests the pair have been involved with as sound and visual artists.
John Powell-Jones is perhaps best known for his work in the creative arts and as a visual designer and printer for projects as diverse as Mogwai, Jamal Moss, Delroy Edwards, Raime, Moon Duo and Demdike Stare, as well as a technical demonstrator in printmaking and Risograph techniques at the University of Salford. Alongside his most recent work in sculpture, Powell-Jones has also had a number of music releases for the Sacred Tapes label since 2014.
Craig Tattersall needs little introduction round these parts, having been involved in numerous projects close to our orbit since the late 90’s as part of Hood, The Remote Viewer and The Boats, as well as running the much loved (and missed) Cotton Goods label.
This release emerged as the result of a sound art and print workshop the duo ran together at the University of Salford, based on a premise of capturing sounds during the process of printing. The resulting prints would act as both 'sketches' of the workshop, but also as gestural marks that would replicate those sounds, like a visual score.
Making use of contact mics, tape loops, manipulated radios/cassettes and an altered turntable to make the sound, the pair then used different mono printing and dry point etching techniques, as well as an old typewriter to make the images.
The A-side starts off baring the hallmarks of classic location recording; all clicks and whirrs, it slowly develops into a mesmerising, whirling drone piece. But it’s the b-side that envelopes in warmth, a sublime study in stillness and beauty that’s quite the contrast to the rattling, microscopic chaos of that opener. Over the space of almost 20 minutes, Tattersall and Powell-Jones bridge between celestial and personal dimensions with ease, creating a kind of barely-there rendering of the sublime that recalls everything from William Basinski to the quiet music of Jürg Frey, an effect heightened by the ferric quality of the recording...
Legendary British jazzman and soundtrack composer Basil Kirchin essentially scrapes the inside of his skull into ‘Worlds Within Worlds, Pts 1-2’, an absolutely bonkers collision of concrète, jazz and vivid imagination from 1971. Trades for silly money 2nd hand, so praise Trunk for bringing it back to light
Muggy mutant downstrokes from Apulati Bien ov Paris/Brussels crew Outreglot, doing lo-fi alien rap, juke and spannered, noisy audness in their own style for the excellent Promesses
Working shades away from styles also explored by Slikback and his Hakuna Kulala crew outta Central/East Africa or the PRR! PRR! lot in Belgium, Apulati Bien restlessly shifts patterns on ‘OO:NÉ’ from the insectoid scuttle and budge of ‘EPOC’ to munted rap on ‘HUMID’ with Zouccrashbaby, taking in the polytemporal G-Force of his killer ‘RIZ-VASTOS’ ft. Lord Cham, mutant Footwork in ’TARIF’ and ‘HARAMARA’, grimy cut-ups in ‘OPTON AÏZ’, and freaky gamelan in ‘LIL ALEX 2930’ ft. Santini.
A big look for anyone investigating mutant fringes of the modern dance.
One of two killer Tarraxho thrown-downs by the sound’s Lisbon-raised, London-based pioneer, plucked out by the Paris-hailing Promesses label
Tarraxho is effectively the slower cousin to Angolan Kuduro and Tarraxhina. DJ Bebedera is a pioneer of the Lisboan sub-genre working with similar melodies and drum patterns, but screwed to a dancehall or reggaeton-style 90BPM pace.
‘Tarraxo Funguiça Das Negras’ feels super slow, even by Tarraxo standards, working sloshing drums and militant brass and flute to sound like an aggy UKF killer on 33 not 45rpm, while ‘Tarraxo Reboleixon Au Rubro hits haaaard with clipped, swaggering syncopation a shade away from dancehall, layered up with zimmering bleeps and dissonant stabs for rudest effect.
Extra strong vibes for Príncipe disciples!
Shapednoise reduces Mumdance & Logos, his bandmates in The Sprawl, to Ur, elemental noise for Tectonic
In both parts Nino Pedone aka Shapednoise extracts and intensifies the industrial spirits lurking in Mumdance & Logos’s rave machinery. On the A-side, the harpy divas and bashy drums of their reticulated beast ‘Chaos Engine’ are filtered thru a gauntlet of reverbs and metallurgic magick to form the demonic convulsions and gurning screech of his ‘Shatter Remix’, while the B-side sees him dissolve the skeletal bones of ‘Cold’ into a brittle lattice of icy particulates and Arctic cavern bass in the ‘Crystalline Remix’.
For fans of Shapednoise’s solo output or his work with Mumdance & Logos in improv n0!ze trio The Sprawl, this plate is tasty...
Doukkala exemplify the range and quality of Paris-based Promesses label with a wild ride between outernational ghetto rhythms, salty noise and industrial tekkers
Primed for the rave hours when it gets nasty, ‘Outrance’ pushes the vibe into the red in seven parts, starting out ambient but getting radge with cranky takes on dabble techno (‘Quartier Arabe’), slamming industrial techno (‘L’Âne de Zaouïa’), with a beatless wormhole passing into the snarling mid-range synth lash and rotted drums of ‘Dialectique du Maître et de l’Esclave’, and the saving Logobi rammer ‘Champion du Monde’.
Stunning debut by L.A.-based violinist Zachary Paul, of Touch’s mentorship scheme, yielding an elemental, time-bending suite of studies exploring the paradox of stasis/movement, and working in a rich vein of minimalism that reaches back thru Pauline Oliveros, Tony Conrad, and La Monte Young
In three durational parts ‘A Meditation On Discord’ introduces a promising and timeless new musical voice, showcasing an expressive range and style porous to nature and the elements. The opening, 30 minute live recording ‘Premonition’ starts anxiously jagged but beautifully warms up as he channels the sun beating down on the Desert Daze festival stage, opening out into the kind of curdled tunings that make our heads fizz, and which we imagine must have sounded incredible in open space. Another live piece ‘Slow Ascent’ follows, glacially coning from wide, lo lying into a peak of looped voice and strings, before the album’s single studio recording ‘A Person With Feelings’ plays to his full range, segueing from luxuriant to atonal with discernibly electronic designs cut to purpose as the soundtrack to a short film by Tamer Smith. Trust we’ll hear more from this bright star in future.
“"'Premonition' (October 12, 2018) was recorded on the first day of Desert Daze music festival. For this performance I tuned my violin in open G (G-D-G-D) for the very first time. The afternoon was warm and bright, but storm clouds, yet to be seen at the time of this recording, loomed on the horizon. My improvisation began in the present moment, reflecting the vibrations of the sun. Once locked in with these higher frequencies, the instrument took control and painted the evening. This performance was both a premonition of night and an astral projection towards the clouds crawling towards the festival grounds, catalyzed by an instrument resonating with the frequencies of the earth. 'Slow Ascent' (February 23, 2018) was recorded at Human Resources, Los Angeles, for an event celebrating the release of Yann Novak's second album. This performance was an inverted guided group meditation. In front of my biggest audience to date, I was extremely anxious. Rather than letting my nerves lead the way, I fed off of the energies of the audience, letting their patience, calm and warmth guide the instrument. 'A Person With Feelings' is a score for a short abstract film to be released in 2019. A modern trance film, the piece follows a young actor's internal journey. The soundscape reflects the arc of the film and showcases the textural range of my instrument." --Zachary Paul
Yes ayyye! Paris-based Promesses come into their own with an infectious batch of Kwaito styles coaxed from Limpopo, South Africa’s DJ Call Me, and so titled after the WhatsApp number they used to find him
After getting hooked on DJ Call Me’s neon-coloured melodies and elastic electro-bass via YouTube, where his tracks posted by fans have millions of views, Promesses’ Samos & Härdee managed to track him down for this release and the good of the dance via WhatsApp number ‘+27 73 121 5626’.
All recorded 2009-2010, the tunes are pure fire, full of limb-bending, belly-twysting synth funk shackled by UKF-compatible clap/snare patterns and good times melodies, at best between the burning sensation ‘Celebration’, the virulent leads and lush pads of ‘Face To face’, the darker blue vibes of ‘Return of DJ Call Me’ and ‘Say Goodbye’, and the Calypso-esque heat of ‘Mama I’m Sorry’.
A big RIYL Errorsmith, S.A. Bubblegum, and the more electro-tinged ends of UKF
Straight outta Eastern Congo, Will’Stone aka the “Lion of Goma” delivers dread heavy rap on Slikback & Nyege Nyege Tapes’ Hakuna Kulala label
Hailing from the Eastern Congo city of Goma, Will’Stone’s barking, stentorian style has come to define the sound of his city’s war torn youth. On ‘Mbv5’ he’s joined by Kampala-based Congolese MC, Le Bon to spray fire over a crushingly heavy groove built from drop forge drums and sweltering, even panicked patina of field recordings, and in a way that wouldn’t sound outta place on JPEGMAFIA’s ‘Veteran’. Cutthroat, hardcore business.
Not to be missed!
Broshuda warps the new age meditation/self-help tape template to taste for Ossia and co’s No Corner
“A meditation on cyberspace self-help, using text-to-speech conversions from a self-help Twitter bot, his work takes a look at a darker aspect of a very imminent social future for us humans.
But rather than an obvious criticism, ‘You’ll Always Stay Beautiful’ lets the listener indulge in which ever way they feel. Placing the all familiar, and ultimately still very human commentary in a light-headed tangle of computerised harmony, melody and abstract rhythm…
‘Spend Time With Your Parents, Treat Them Well… Because One Day, When You Look Up From Your Phone – They Won’t Be There Anymore’.
You’ll Always Stay Beautiful points out the absurdities of such automated emotional help facilities in our social internet age, but also remembers the beautiful fragilities that make up the human mind, which is always in search of strength and reassurance, and ultimately – love.”
Optimo grips your hips with three slinky bits by Bruno Deodato’s Internal N.Y. Rhythms, leading on from his 12”s for Innervisions
The EP sashays from the shakers, snaky bass and psychedelic electronics of ‘Poli-Ritmo I’ to emphasise the clipped clave patterns in ‘Poli-Ritmo II’, and then follow a rugged tribal hunch into the crunchy drums nd nagging drone of ‘Futurismo’.
Optimo Music ally Julienne Dessagne aka Fantastic Twins commits three highlights of her live show to wax for the righteous Against Fascism Trax
Inspired by the fundamental right to dance, Fantastic Twins plays out three infectiously pulsating workouts that say their piece in no uncertain terms. ‘Why Are You Here?’ is a stealthily powerful Italo disco roller gassed on layered arps and head-high melodies; ‘Wrong Place Wrogn Time Wrong People’ is more locked-in, latinate, and primed for dancing in altered states; and ‘Stunden Lang (Lost In Germany)’ offers a dreamy kosmiche utopianism, beautifully sung in German, then pushed with happy clapping rhythms.
“Why are we here if we can’t dance? That reminds me of the words of Pina Bausch “Dance, dance or we are lost”. Lost in our internal struggles as individuals (or imaginary twins). Lost in a society where our relation to the other is often marked by fear, power or violence. We feel the need to resist. Yet nowadays, taking a political stance as an artist is too often being instrumentalised as another tactics or accessory to gather more popularity, reducing the political message to nothing else but a branding attempt. Isn’t it anyway the power of capitalism to assimilate everything, even contradictory or once-upon-a-time subversive voices? All to end up on a “Rave” or “Feminist” H&M t-shirt. Slogans that have been emptied of their initial force and substance, now replaced by their commercial value. I strongly doubt that more empty words poured in vain on social media will help us much. But, like Pina Bausch, like JD Twitch, I have always firmly believed in dancing as a physical, social and fundamental act that leads us to share a common space with others and embrace otherness. Standing together, dancing together when everything else forces us to divide. May the music on this EP be, I hope, a possible answer to its own title. - Fantastic Twins”
Deep heat from Paris-based Mad Rey, following up their house outings with D.KO Rercords and REKIDS with a first album of exclusively computer-based productions landing somewhere near DJ Python or Anthony Naples’ kinked depths
Adding another stripe of individual colour to the Promesses label, ‘U.M.A.’ covers a fine spectrum of tempos and feels under Mad Rey’s banner, and linked up by an overarching reference to Quentin Tarantino (in the way he samples movies, Rey samples music) and Kill Bill.
They from thizzing, cinematic pads and rugged dream sequence motion in ‘Hanzō’ (a reference to Uma Thurman’s Japanese made sword ((say it like RZA swaard)) in Kill Bill), to the melancholic house of ‘U’, before pushing the vibe into dreamily ecstatic Detroit techno with ‘I’ll Never Forget You’, and rollin the rhythm off the bone with classy swerve in ‘Quantum Lag’.
Heady, impressionistic ambient scenery from Matthew Sage, limning a windows-open summer vibe as heard from a crumbling old apartment in Chicago. Transmuting the intangible into a fizzing, warm sound, there’s a beautifully nostalgic, heavy-lidded drift and waft to proceedings that recalls everyone from Roberto Carlos Lange to Jefre Cantu-Ledesma, Hood and Bibio, all heard thru a smudged kaleidoscope...
Recorded "over a summer in a tiny room on the second floor of a 120-year-old apartment in Chicago” 'Catch a Blessing’ falls into the quietly grand tradition of instrumental albums steeped in nostalgia without becoming too cloying. It’s there on the opening "Avondale Primer Gray” - perhaps the first piece of music we’ve heard in over a decade that pushes the same care-free, doe-eyed, 1980’s buttons as Max Tundra’s evergreen 'Chimes Corner’, and taken further on "Michigan Turquoise”, casting a more solemn hue the label astutely compare to Sparklehorse, with its slightly detuned guitar fed through an aged super 8.
As the label explain, Sage approached the album from an impressionistic perspective, painting sound in broad strokes conveying the ecstatic warmth you only really feel when you look at the sun with closed eyes. "The moods and modes are constantly, entirely at odds with themselves: private vs. public, abject vs. profound, rural vs. urban(e), and so on. Where other players of experimental studio music take a more high-minded, often stuffy approach, 'Catch a Blessing' floats in airier, more refreshing modes.. endlessly lush but sincerely marked by decay..."
An effortlessly lovely offering from the same label that gave us Félicia Atkinson’s sublime ‘Coyotes’ last year.
Almighty sophomore album by industrial overload Kris Lapke aka Alberich - Hospital Productions’ mastering engineer, scene-defining producer, and right hand man to Dominick Fernow (Prurient, Vatican Shadow, RSE).
Where Alberich’s infamous, 3 hour long ‘NATO Uniformen’  series can be heard as a cornerstone for this decade’s tilt into noise techno experimentation, its follow-up is a bitterly refined and exquisitely crafted single disc bedevilled by increasingly excoriating detail via bombed-out rhythms and eschaton-limning atmospheres. Lapke distills and pokes his most potent ideas into their most succinct, brutalist forms, but also makes room for one durational pulverizer that is on its own worthy of the cost of admission.
A master of calibrating maximalist and minimalist scopes, Lapke has a gift for getting right in-the-mix and pulling sounds to the biting point or allow them to glisten in the periphery; emphasising their grotesqueness, stark beauty and visceral nature in the process. It’s an approach which has elevated him to the vanguard of modern industrial music, evidenced in production work and mastering for Prurient, The Haxan Cloak and Nothing, as well as audio restoration for COUM Transmissions and Shizuka, but rarely felt as strongly or as nuanced as in his solo work.
Between opener ‘Upper Mountains’, casting some of the gloomiest synth pads this side of Silent Servant’s ‘Negative Fascination’, to the entrenched techno of ‘Unity House’ with its asphyxiating, buried-by-mud effect buoyed only by drily resigned vocals, and the aching synth poignancy of ‘No Reference to The Absence of Allegory’ at the album’s charred heart, Lapke's sounds adopt a frightening meaning thru their manacled grip of reality.
But its the B-side that will really see off any half-hearted types, as he sucks us down the title track’s rabbit hole of collapsing techno and lo-NRG vox into the reverberating negative space of ‘Freeze’, and the masterfully dense yet wide open paradox of his closing ‘Radio Op’ transmission.
‘Contrée’ is Recollection GRM’s first survey of work by Régis Renouard Larivière, three pieces variously exploring granular evolutions (‘Contrée’), hacked strings (‘Allégeance volatile’), and a rapid, chattering avian flux (‘Esquive’). This is one of the harder nosed GRM issues, but those with attentive ears and patience will be rewarded in multiples...
“Allégeance volatile and Esquive each tackle the same issue in their own way. Overcoming time: whether it be successive, additional, enumerative, or repetitive. However, there is nothing here about the ensuing nature of so-called "repetitive" music. These are types of high-end music. And it is more about insistence, the obstinacy of an individual who keeps knocking on a door that will never open.
Allégeance's rustic drumming, talkative, acidulous, colourful and overarticulated, with almost clownish desinences, eventually dies out in this very respite. The iterative and puffy shimmering of Esquive with its dull, thin and precise sounds, shifts and is engulfed into another sonic world — which appears as a gaping and collapsed response to this prime insistency.
This is, indeed, a ‘volatile allegiance’ and ‘avoidance’ from the sonic to the musical elements: the musical phenomenon anticipated and pursued as the non-sound of sound — or, in other words, the void of sound. This seems to be the lesson of the concrete attitude in music. Such is the kind of questioning that stirs the composer. He returns with another title: Contrée, which, once again, speaks of a counter-event. Here, the movement is broader, more generous, more confident. Time spreads and stretches out. What seems to be a landscape of entanglements, trajectories, influx, masses and points emerges. “Something” rises and presents itself out of the sounds - these escaping beings, these "relatively short combustion flames " (Schaeffer).
The piece consists of five consecutive and uninterrupted parts: Entrée and Stance I — Véhémence de l’air and Stance II — Grande Allure. It is the central section of an electroacoustic triptych with Sables (2011) as the first and Nil (2017) as the last. Contrée is dedicated to Philippe Mion, whose friendly ears have been entrusted with my music for so many years.
- Régis Renouard Larivière”
Hypnotic, offbeat, earthy dance music from Stefan Schwander’s Harmonious Thelonious
Leading on from turns with Kontra-Musik, Disk, The Trilogy Tapes and Versatile in the last year alone, ‘Petrolia’ keeps up the quality levels with a six choice new cuts roving between the almost New Beat styled chug and fiery pipes of ‘Disko Marak’ to the spiralling stereo helix of ‘Just Play’, and the effortlessly mesmerising swag roof ‘Petrolia’, along with the Dembow-like bump of ‘Nous n’Avons Jamais’ and the fractal synth noise mosaic, ‘Tig Tig Tig’.
Icy grime/drill badness from the OG Terror Danjah
Upfront and up-to-the-moment, the ‘Red Fag EP’ wins big with the title cut’s frozen glitches and pointillist drill/grime rhythm diction, before he bruks out the brass on the nasty/nutty ‘Snapper’, gets spaced-out in a drill style on ‘Ozark’, and comes with signature, fwd R&G flavour in ‘Light Years’.
Downbeat free jazz verging on 4th world terrain, from bass player Joshua Abrams and his Natural Information Society. Mastered by Helge Sten (Deathprod) at Audio Virus, Oslo
“mandatory reality, the new album by joshua abrams & natural information society, is here. setting aside (for the moment) the electric instrumentation of simultonality (2017) & magnetoception (2015), joshua abrams conceived mandatory reality for an eight-piece acoustic manifestation of NIS, consisting of himself on guimbri, lisa alvarado - harmonium & gongs, mikel avery - tam-tam & gongs, ben boye - autoharp & piano, hamid drake - tabla & tar, ben lamar gay - cornet, nick mazzarella - alto saxophone, & jason stein - bass clarinet. a 2 LP set, the album is comprised largely of two performances, both joshua abrams compositions, 24 & 40 minutes in length. while new to the band’s records, long duration pieces are familiar to those who’ve heard JA&NIS in concert in recent years, where elaboration on a single composition for an hour or more is not unusual.
gradual tempos dominate mandatory reality. recorded two months before the 2017 solar eclipse, mandatory reality is the sound of joshua abrams & NIS taking its time. merging methodical compositions with sonically voluptuous orchestration, abrams heightens the immersive & hypnotic qualities JA&NIS music is known for, taking the band & the listener deep into a collective meditative space. a grand realization of long-form psychedelic music, mandatory reality is a dispatch from a sound world that is increasingly unique to itself.
all performances on mandatory reality are full takes recorded live to tape by the full ensemble, magnificently captured by greg norman at electrical audio, chicago—the first true ‘audiophile’ recording of joshua abrams & natural information society. mastered by helge sten at audio virus, oslo.”
Dresden’s Sneaker helms a strong pair of New Beat-y/haunted house jams with RVDS, Katrina Fairlee and Joshua Cordova for Fit Detroit
Alongside the Golden Püdel’s RVDS, he cooks up the nagging latin swerve and spooked-out electronics of ‘Inside Me’ in a style heavily recalling La Rolls’ Belgian classique ‘Sure Is’ and stacks of raw Chi-jackers, whereas ‘Geist Bahn’ catches him with Fairlee and Cordova pushing a similar groove into more fetid niches of inquiry with druggy dark room results.
Destroyed beyond recognition, 200bpm edits of mainstream 2018 dance trax, plus a trio of ace digital bonus remixes from numèric, PLOU PLIM, dj))water)) on the reliably bonkers Fluf label
“Recording documenting the soundtrack of PLOM's sporadic performance at La Capella (BCN) during the exhibition 'Les escenes. 25 anys després. Escena 2 '. An exaltation of the peripheral.
Made between December and February during his daily trips to work using the regional train network, PLOM uses as a base material, the songs contained in the last Top 51 of 2018 on the Maxima FM radio station.
At full throttle and under the eyes of the rest of passengers, uses his laptop to square Trance EDM, Big Room House and Pop and homogenize them to 200 bpm, accelerated mixes that then silenced using French audio signal tracking techniques. It ends up filling and superimposing a string of noises and nervous modified rhythms from his own sake that lead the crew towards their cathartic final destination.
An appropriationist massacre of the best 51 dance anthems of late 2018 on Máxima FM, whose visual equivalent would be a 4K HD film on a 50-inch screen that would explode over and over again and be rebuilt in 3D graphics made from tiny fragments of glass and plastic.””
Big Tarraxho bullets from London-based Portuguese producer DJ Bebedera, jointly launched by Paris’ Promesses and Bazzerk - the label who brought Kuduro to the EU masses a decade ago
Tarraxho is effectively the slower cousin to Angolan Kuduro and Tarraxhina. DJ Bebedera is a pioneer of the Lisboan sub-genre working with similar melodies and drum patterns, but screwed to a dancehall or reggaeton-style 90BPM pace.
DJ Bebedera’s ‘Tarraxho Bandido Organização Criminal’ follows a wickedly hypnotic hunch for wonky flute licks on electro-stung drums, lit up with furtive cop samples and well timed vocal stabs. ‘Fodência Rijo Rijo Rasgo De Cuecas’ is ruder, highlighting a woozy, sexed up side of the Angolan/Portuguese sound that’s usually neglected for its more boisterous flex.
Strong vibes for Príncipe disciples!
Sonic postcards from warmer places, ranging from lush field recordings to solo piano meditations and computer music, courtesy of Belgian sound cartographer Lieven Martens Moana and his Dolphins Into the Future alias
“Songs Of Gold are nine small portraits, culled from compilations, limited run cassette releases, choreographies, and singles. Some pieces were worked on for a length of time, others materialized in just about one take. All the songs are derived by an encounter with an object, a place or a person. Or by a combination of these. The events are translated into the work through the intermediary of symbolic sounds and notes. There is no thematic link between the compositions.”