Suzanne Kraft beautifully paints outside the lines on ‘SK U Kno’, offering studio-rendered snapshots of material that gradually evolved into the pieces in front of you, drawing woozy connections between wistful ambient contours and more vaporous, hypnagogic loops. One of the loveliest/smudged listens this year.
On the A-side Kraft seduces with eight minutes of wilting chords and percolated synth voices in ‘Gaze’, before ‘Vast Mute’ breezes close to the kind of DJ Screw-style magick found in 0PN’s ‘Chuck Person’s Eccojams’, but to more abstracted, hazy effect.
His B-side follows with the beautifully mellow strums of ‘To Make A Stone Weep’ probing a Jim O’Rourke-like transition from acoustic balm to digital saltiness, and then we finally get to hear the full version of ‘Accelerate Me Wildly’, which now comes with an extra 12 minutes of astral synth-scaping and GRM-like electro-acoustics before it drops into killer, airborne funk trills and levitating chords with a proper West Coast US steez.
Finally, a vinyl version of Susumu Yokota’s ‘Acid Mt. Fuji’ , the 2nd album of ambient-acid-techno by the Japanese legend who sadly passed away in 2015
Delivered via Germany’s Midgar, Acid Mt. Fuji arrives on vinyl at a high point of interest surrounding Yokota's work, and especially these early recordings that were made some years before he went on to pen ambient classics such as The Boy And The Tree.
While patently acid techno in form and style, on Acid Mt. Fuji it’s easy to hear the more tender, esoteric elements which would later come into sharper focus, but the original tracks completely stand on their own merits, too, with some big highlights for anyone scoping ‘90s Japanese house and techno in parallel to its ‘80s synth-pop and ambient nexus, especially in the likes of his ruggedly pendulous yet delicate Tanuki, or the slow acid churn of Oponchi and Akafuji.
Canny split between veteran mechanical soundsmiths Pierre Bastien & Cabo San Roque on one side, and the none-more-enigmatic Breadwoman improvising with soprano saxophonist Adrian Northover and Dave Tucker on guitar.
“First Terrace deliver another instalment of their split series, following on from the meditative trip supplied by Chihei Hatakeyama and Vida Vojic on FTS002 & the blissful first edition from K. Leimer & Like A Villain.
On the ‘line’ side of FTS003 we hear the meeting of three veteran improvisors - Anna Homler (Breadwoman/Pharmacia Poetica), Adrian Northover (Remote Viewers) and Dave Tucker (The Fall). Born from the fertile creative friction of the London Improvisers Orchestra, they incantate together to deliver a clutch of winding, curious, mesmeric compositions.
On the ‘circle’ side we present a recording from Pierre Bastien - an artist of startling singularity and endless, joyful creativity. Recorded at Arts Santa Mònica in Barcelona with Catalonian group Cabo San Roque, Pierre takes the helm of their monumental mechanical sound sculpture - the Orquestra Mecànica de la França Xica - and guides the vast array of cogs and pistons through three movements. The orchestra was made up of thirty or forty machines, all linked to Pierre’s casio keyboard.”
Róisín Murphy meets Maurice Fulton for the 3rd of four singles to emerge throughout summer 2018
On Jacuzzi Rollercoaster Róisín sounds like a curious mix of Kate Bush and Jacko, filtering from whispers to reverb-vaulted phrases in a slippery slice of midsummer disco greaze.
With Can’t Hang On they hinge around a deeper house sound percolated with squirmy acid, keyboard and dancing hi-hats, with Róisín coming on much cooler, breezier.
Porridgy breaks and skudgy techno from The Maghreban, backed with an ace, meter-messing remix by Batu running at c. 160bpm
‘Monster VIP’ is a slompy shot of breakbeat hardcore from the echoplex, whereas ‘Carpet Bombing’ traces undulating techno with zig-zagging psych-funk synth squirms.
Batu’s remix is the best thing on offer, making a rare foray into higher tempi with an initially tentative, but ultimately roguish joyride consolidating ghetto-tech, footwork and rolling UK bass styles with inimitable style.
Pivotal solo cellist and producer Oliver Coates (LCO, Apartment House) proceeds collaborations with Mica Levi and Radiohead with Shelley’s on Zenn-La, an indefatigably endearing 3rd solo album, new for RVNG Intl.
We can hardly think of many artists beyond Oliver’s own circle who can meld dance music with avant-electronic and classical instrumental expression quite like Oliver does here. From the raw electric buzz and spattered breaks underlined with layered cello in Faraday Movement, to the abraded BoC-like downbeats of Lime, thru to wayward disco treks like Charlev, Analord-style braindance in Norrin Radd Dreaming, and the final swoon between wide-open string composition and balletic IDM in Perfect Apple with Silver Mark, Oliver is making wonderful music unconstricted by convention, but patently happy to play with it.
Four cuts of jacking Chicago acid inna London style from Downfall Recordings
Consequence follows their role on the label’s first V/A EP with the chunky but streamlined pressure of ‘They’re At It Again’, and Type-303 pursues their 12” for I Love Acid with a ruddy bit of acid juice in ’Acid Will Survive’.
The Auditor works the offbeat with natty swagger on ‘Get Down’, and Nuff Trip really makes his little grey box sing ’n squelch with ‘Free Your Soul’.
Three of the world's foremost extreme sound artists/producers collide 'In The Studio' on a highly limited and opulent spot-gloss gatefold album.
Recorded days after the live performance captured on 'Shall I Download A Black Hole and Offer It To You', this is Keiji Haino and Pan Sonic witnessed in the controlled environs of a Berlin studio, serving eleven utterly compelling examples of freeform noise, vocal gymnastics and power electronics. The track titles, from the hand of Haino, indicate the abstract esoteric nature of the recordings, with 'If I could incarnate this feeling would you consider it a creation' attached to 1 minute of Keiji's blood curdling vocal catharsis, and the jawdropping 'In the hollow created between the eyebrows, what offering would be most appropriate' signifying seven minutes of lucid operatic falsetto descending into diabolical undertones of strafing drones and oncoming clouds of caustic noise.
The dilated scope of the session is perhaps best heard on 'Imperious doppelganger of tears, playing catch with objectivity that evades ultimate responsibility', where spasmodic jazz/metal drums pound clustered chunks of percussive flesh over walloping synthetic bass hits and shadowy, dynamic alien shapes invade the space at will. On '"Without Doubt", an attestation written from that time, will no longer have effect, because the wound has widened so much' Haino riffs away on guitar over Mika & Ilpo's reinforced machine beaten industrial squalls, and appears again in a more sombre form, articulating acutely melancholy axe signatures to bleak, blank bass drones in 'Perhaps there is no need to return', a sublime meeting of mystical and uncompromising minds from opposite ends of the world.
The heavyweight nature of the music is beautifully represented in Stephen O'Malley's stunning sleeve, firmly enhancing the irresistible allure of this album. Very highly recommended.
Mika Vainio measures out one of his finest releases to date, bar none, in the staggering 'Kilo' for Blast First Petite.
With a barely tamed sense of aggression, it more or less finds the perfect crux point between our office favourite, the beats-driven 'Oleva' (2008) under his Ø alias, and the granite hewn and bloodied metal excursion, 'Life (…It Eats You Up)' (2011), shaping ten tracks of a vivid and viscerally affective aesthetic whose themes of mass, dynamic and tone are succinctly reflected in context of his shipping-themed track titles, and surely implied by its frighteningly physical presence. It feels very much like one man taking control of his daemons, strengthening his whip hand and honing his ability to deliver deadly force where it matters, making every pause between the beats count with breathtaking efficiency.
Each ductile synth snarl, thunder-strike riff and bouldering drum occurs with space docking precision. From the midnight drop of 'Cargo', his 'Cranes' and 'Load' toil pendulous beats big as a troll's clackers, and 'Docks' places us out in the cold, waiting for the fog horn synth to deliver payload. 'Sub Atlantic' is the incredibly scary centrepiece, imagining the paranoia of listing in the hull of a sinking vessel far from shore, and 'Rust' is maybe the resultant decay manifested as pure power electronics.
For sonic thrills, the lungful oscillator decompressions and pensile Bonham bosh of 'Wreck' make for grave highlights, whilst the slow, purposeful navigation of 'Freight' and the beatless, brobdingnagian mass of 'Weight' appropriately evoke imagery of supertankers carving down narrow, manmade canals and gauging docking depths in the midst of man-eating storms.
Volume five of the killer Britxotica! series, looking this time at 16 super rare and briliantly bonkers latin and percussive pop cues from the wild British Isles! All cues mastered and sequenced by Jon Brooks, AKA The Advisory Circle .
"Britxotica! (pronounced “Britzotica”) neatly describes an odd and yet undocumented pre-Beatles British musical scene where famed UK composers as well as unknown singers and bandleaders threw convention on holiday and went wild wild wild! Put together by Jonny Trunk with DJ / tastemaker and Smashing nighclub legend Martin Green, these groundbreaking new compilations shine new light on lost and forgotten corners of British culture and sound.
For this, Part Five of our planned Britxotica! series we head to lively latin tinged dancefloors where Brits could cha cha cha to the KIrchin band, “Jump In The Line” with Frank Holder and Mambo with Ido or Don. This killer collection of British dance obscurities brings us lively sounds from the rarest UK record bins, including this time an amazing cover version of the legendary loungecore hit “House Of Bamboo” plus the stunning “Jonny One Note” by Ted Heath, the track that originally introduced John Craven’s Newsround. To sum up, this is another exciting, wild and occasionally bonkers compilation by Jonny Trunk and Martin Green, two of the UKs most wild record collectors. Also, there are men in underpants on the sleeve, What’s not to like?"
The Beta Band's hugely collectable‘The Three EPs’, available for the first time on a deluxe vinyl reissue.
"Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Innovative and singular, their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries. Together for a relatively short period of time, the three albums and three EPs they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation.
This is a deluxe vinyl edition gathering in a slipcase the EPs ‘Champion Versions’, ‘The Patty Patty Sound’ and ‘Los Amigos Del Beta Bandidos’ with remastered tracks and coloured vinyl edition."
While their name night suggest a bad post-dubstep experiment, Marshstepper is actually one of the U.S. underground’s most revered live acts, here revolving core members JS Aurelius and Nick Nappa playing at Berlin Atonal 2016, flanked by Coil’s Drew McDowell, Juan Mendez a.k.a. Silent Servant, and Jonas Rönnberg a.k.a. Varg
Following records for Downwards USA and a fistful of original and live recordings via JS Aurelius’ Ascetic House label, their massed performance at Atonal is an ill-minded exorcism of guttural vox, roiling techno effluence and sheets of abstract electronics that tumbles down rabbitholes and crops up at sublime junctures, only to continue misstepping on the most acrid, foul and fucked-up ground between ritualistic, primordial electronics and white noise rage. In other words; good stuff.
A “Lost” Aegean club hit from D.E., the alias of Akis, whose ‘Into The Light’  album inspired the name of Greece’s smartest reissue label
Recorded in 1992, ‘Giant Step (Club Mix)’ is a sultry beauty marrying New Jack Swing funk with brooding synths in a way recalling early Wild Bunch or cuts from that Pablo’s Eye reissue on Stroom.
However, the B-side’s ‘Giant Step - Demo Version’ is the payload for us. Recorded in 1989, it’s more stripped down and edging on a sort of slinky, crooked new age boogie, pan pipes and all.
Sonic Youth's quintessential 1988 Top-40 tribute album by their alter ego Ciccone Youth now available from the band’s own Goofin’ imprint.
Includes the classic “Burnin’ Up” featuring Mike Watt and Greg Ginn. Alternate mix of “MacBeth” appears as a hidden bonus track. In 1988, after hinting that a tribute to the Beatles’ White Album was in the works, the band about-faced and delivered this brain-sick celebration of pop-culture, experimental rock, Neu! and The Material Girl in particular. The album features such favorites as “MacBeth” (as well as a hidden bonus alternate mix of the track) and “Into the Groovey,” and includes Mike Watt’s “Burnin’ Up” featuring Greg Ginn.
Reissue of "Odyshape" the second album by The Raincoats originally released on Rough Trade Records in 1981 - liner notes by Kim Gordon.
"It was The Raincoats I related to most. They seemed like ordinary people playing extraordinary music. Music that was natural that made room for cohesion of personalities. They had enough confidence to be vulnerable and to be themselves without having to take on the mantle of male rock/punk rock aggression…or the typical female as sex symbol avec irony or sensationalism. (Kim Gordon, Sonic Youth,1993). // We just really loved what The Raincoats were doing - they were a really exciting band.
I think the thing that was good about The Raincoats simply was that the tradition that they were playing in was their own and so they had an original voice. You couldn’t ignore them - they were undeniably fascinating - the interplay between the two voices and the sound of the group was something original and that was what was exciting about them. (Geoff Travis, Rough Trade Records, February 2009)"
An evergreen ambient classic and FACT's #10 album of the ‘80s, also in Pitchfork’s Top 40 Best Ambient Albums of All Time, Steve Roach’s Structures From Silence returns to its spiritual home on vinyl more than 30 years since it first came into this dimension.
On his 3rd album, self-taught synthesist Steve Roach made a break from his previous two sides of Berlin-skool kosmiche and ambient to foster a far more delicate, focussed yet heavy-lidded style of new age ambient music that was mercifully shy of the style’s more cloying cliches, favouring subtly phasing repetition and suspense over space soap opera dramatics or hippyish fantasy.
The result is a seductively minimalist suite of space music in three parts, gently flowing upwards and outwards to beautifully introspective ends on Reflections In Suspension, before Quiet Friend cradles your heart in diaphanous sheets of satin synth, and Structures From Silence imperceptibly returns to 0 in a creamy wash of aqueous pads that feel like a Vangelis romance theme slowed to alien temporality.
Ambient gold, this. Don’t miss!
At bleedin’ last, Cosey Fanni Tutti’s legendary solo album, Time To Tell  sees a proper, if edited, official vinyl reissue - MAGAZINE INCLUDED! - on her and Chris Carter’s Conspiracy International label. In fact, with Cosey’s utterly mind-blowing autobiography, Art Sex Music now in circulation, putting history to rights and stoking febrile interest around her inspirational, nonpareil oeuvre, the timing could hardly be any better to reissue her most sought-after and inarguably definitive solo release.
First issued on tape in 1983, some years after the initial demise of Throbbing Gristle and the start of of Chris & Cosey, and just prior to the emergence of their multimedia CTI alias, Time To Tell documents Hull’s greatest daughter, Christine Carol Newby aka Cosey Fanni Tutti, ‘fessing all about her long-running art praxis involving a deep penetration of the British sex industry - from nude modelling to striptease and transgressive performance art - all set to her signature, exploratory electronic sculptures and drily angelic delivery.
For this hugely important reissue of Cosey’s only solo record (yep, only!), she worked with husband and creative partner Chris Carter to edit the original two track release, trimming down some of the longer parts to optimise audio fidelity, and also incorporating The Secret Touch which was included on the Time To Tell (Special Edition) CD release in 1993/2000.
Thus the release spies three distinct strands or aspects of Cosey’s sound. The first, longest and most comprehensive is the LP’s title track, which, as far as we can tell, appears in a slightly abridged version, but still ties up all her key sonic themes, from pulsing, sensuous synths, sky-licking guitars and brittle drum machines to her achingly seductive Yorkshire accent, drily recounting her experiences and inside/out perspective in the sex industry. Tell us this isn’t one of the most alluring 20 minutes of the ‘80s ever recorded, and we’ll tell you to do one.
Ritual Awakening comes on the B-side. Here the drum machine drops away and Cosey’s hushed vocals take a new, diaphanous form, refracted in a diamond-cut prism of electronics with near-cinematic strings, feeling out unreachable edges of the lushest void. Then we’re stranded in The Secret Touch, where her sallow synth strokes hint at an aquarian sort of new age, melding with reverberating, Denny-esque guitar against an unfathomable backdrop of possible field recordings and almost raga-like drones on her signature Cornet.
We could hammer on about this one all day, but suffice it to say: this is a totally essential purchase!
Dreamtime Return  is perhaps the definitive ambient album by Steve Roach. Its title and conception relate to Steve’s interests in native Australian culture and the idea of ‘dream-time’, a notion roughly translating to a ‘time out of time’, or a prehistory populated by ancestral figures with supernatural abilities.
Naturally, Steve uses indigenous percussion and his signature electronic palette, to bring the ancient, sacred idea of Dream-time to reality in a way that has since become canon to ambient electronic music, with clear antecedents in the music of Rainforest Spiritual Enslavement and FSOL among others.
"Since its release in 1988, Dreamtime Return has earned its reputation as a genuine classic. The two-CD magnum opus is one of the most important, widely known and highly respected release in Steve Roach’s vast body of work. It serves as an essential benchmark within the Electronic-Ethno-Atmospheric genre.
Roach’s travels in the Australian outback, along with studies of the native Dreamtime, and his desert walkabouts in California were the lifeblood for this recording which even today sounds like a transmission from the near future and the very distant past.
“Musically Dreamtime Return richly deserves its classic status, but Roach also deserves credit for leading electronic musicians out of their sheltered studios and into an active relationship with the landscape, the wider world, and deep cultural history. The whole genre is stronger and more relevant for his example.” – Stephen Hill, Hearts of Space Radio
Three decades after its release, the true expansive depth of this iconic masterpiece has been meticulously unveiled, revealing an entirely new listening experience. With this 30th Anniversary remastered edition, mastering engineer Howard Givens utilizes his years of technical knowledge with electronic music, an extensive array of analog and digital tools, and his passion for this seminal work, to restore the original sonic nature and visionary intention, taking the listener deeper into the dreamtime.
“Steve Roach demonstrates that electronic music’s greatest potential may lie in bringing our most elusive dreams and ancient memories into focus through potent, highly imaginative soundscapes. In addition to the atmospheric harmonies and rhythms that literally engulf you for two hours the artist’s compelling style is his uncanny ability to create the illusion of suspended time. Altered chords that breathe ever so slowly, floating textures, digitally sampled native timbres, and arresting special effects lead you through a gently unfolding maze of sonic dimensions that depict a sense of mystery and confrontation with the unknown. The effect is mesmerizing, increasingly introspective, yet curiously comforting as if the primitive wisdom and renewed connection to nature this music conveys is something you were craving all along. This is without question Steve Roach’s masterpiece.” – Linda Kohanov, (excerpt from) CD Review, August 1989
“Surrounding every masterpiece there is an arcane and indecipherable energy, a divine breath that blows. Works like Dreamtime Return change the course of history and accomplish a prodigious jump forward. It is a recording that has inspired a whole generation of musicians and that contains within its two hours astounding artistic intuitions, the starting point for all of the esoteric and tribal music that is produced today. The drones of the didgeridoo, the ceremonial drums, the alien ambiences, the voices from the past, the eternal silences, the tribal atmospheres, the dilation of time, and the sculpture of space have created the tribal-ambient genre, of which Roach was the first techno-shaman. The record can be considered a soundtrack for an adventure at the edge of time, an experience that has deeply and indelibly marked Roach, whose life from that moment will no longer be the same. The channel is open.” – Gianluigi Gasparetti, Deep Listenings, August 2005
"Dreamtime Return is more than a seminal recording that has influenced a generation of musicians. It’s a portal into a universe where technological designs merge deep inside primordial moods. Roach found the nexus of primal didgeridoo growls and synthesizer drones and orchestrated them into this techno-tribal opus. When you shout out at the edge of the world, Dreamtime Return is echo that calls back to you." - John Diliberto, Echoes Radio
Richard D James' classic album from 1992, re-pressed countless times but still sounding as vital as it did way back when. Still probably the most uplifting and nostalgic thing in the AFX catalogue...
Best electronic music album of the late 20th century. A proper gateway drug to the myriad microcosms of Richard D. James a.k.a. Aphex Twin. 100% essential in any collection.
Originally released in 1979, The Raincoats' debut album gets another reissue, this time remastered and via the band's own We ThRee imprint.
This edition includes the Kurt Cobain liner notes from the 1994 reissue, along with text from the band's own Ana Da Silva and Gina Birch. The album is an outright classic of the post-punk era, underlining the free-spirited mish-mashing tactics of the time with its integration of Vicky Aspinall's violin into the barbed guitar formation that leads the charge.
Tracks like 'Fairytale In The Supermarket', 'No Side To Fall In' and the gloriously weird 'The Void' still sound terrific, and the band's notorious cover of The Kinks' 'Lola' remains inspired, reproducing the original affectionately and accurately, albeit with a heap of ramshackle instrumentation. Co-produced by Rough Trade founder Geoff Travis and The Red Krayola's Mayo Thompson, this record is steeped in history, and its immediacy, vitality and all-round inspirational qualities have lost none of their impact in 2009.
The nine track, 35-minute album features a previously unreleased home studio cassette recording of Prince at his piano captured in 1983.
"The private rehearsal provides a rare, intimate glimpse into Prince’s creative process as he worked through songs which include “17 Days” and “Purple Rain” (neither of which would be released until 1984), a cover of Joni Mitchell’s “A Case Of You”, “Strange Relationship” (not released until 1987 on his critically acclaimed Sign O’ The Times album), and “International Lover”."
Remastered reissue of overproof and classic American R&B and Afro-jazz-funk LP from 1975, crammed with killer breaks and vibes for days. Includes previously unheard nuggets such as ‘Afrobeat’ discovered on the original master tapes
“Strut present a brand new edition of Oneness of Juju’s Afro-jazz classic ‘African Rhythms’, originally released on Black Fire in 1975 and first reissued on Strut in 2002.
For bandleader James “Plunky” Branch, ‘African Rhythms’ marked a significant return to his home town of Richmond, Virginia after a politically charged five years based on the East and West coasts. His personal journey had taken him from activism at Columbia University to San Francisco where Zulu musician Ndikho Xaba used theatre to “resurrect” Afro-Americans with a new African identity. The first incarnation of Plunky’s band, Juju, drew attention to the struggle in South Africa under apartheid, layering heavy Afro rhythms under uncompromising avant garde jazz.
Back in Richmond, Plunky tapped into the mid-Atlantic preference for Southern R&B and gospel: “Juju had always been blues-based and it was a natural progression to add R&B and dance rhythms. It didn’t change our message.”
Produced by Jimmy Gray of Black Fire Records, the new sessions included the title track (“We wanted a song to dance to with a message – ‘you are dancing to African rhythms’”), the positive message of ‘Don’t Give Up’ and political commentary on ‘Liberation Dues’.
Originally just a regional hit on the East coast and in Washington DC specifically, the album gradually spread, influencing the nascent DC go-go scene. The UK revived the album during the rare groove era of the late ‘80s and the title track has since become a soul-jazz favourite worldwide.
Remastered from the original sessions and featuring rare photos and extensive liner notes, this new repress also features Part 1 and Part 2 of the original 45 version of ‘African Rhythms’ and the previously unheard ‘Afrobeat’, recently unearthed from the original tapes.”
Thalia Zedek’s ‘Fighting Season’ is direct and raw, at times scorching and others fragile. The album features performances by guitarists and friends J. Mascis (Dinosaur Jr.) and Chris Brokaw (Come).
"Thalia Zedek has been a been a seminal figure in the independent music scene for over 30 years as a member of Come, Live Skull and Uzi and, most recently, her trio E. ‘Fighting Season’ showcases her best songwriting and performances to date, featuring musicians she has worked with for many years, including longtime collaborator and violist Dave Curry, pianist Mel Lederman, bassist Winston Braman and drummer Jonathan Ulman.
‘Fighting Season’, a term originally coined for the period of time in Afghanistan when winter comes to an end and fighting resumes, is reinterpreted by Zedek with a the focus on a rebirth of resistance brought on by the deteriorating US political landscape. Zedek deftly combines the force of her playing with
the urgency of her unmistakable voice to spin tales of discord and struggle from the personal to the political. The potency of her message reflects her exceptional songwriting and playing."
Frank Bretschneider leads the latest concept release from Raster-Noton: ‘Sichten’, a compilation of 18 pieces by 6 artists; namely Benjamin Brunn, Mads Emil Nielsen, MiniCof, Pierce Warnecke, Retina,It, Zavoloka
The results are shuffled up and sequenced across 2 plates to demonstrate their diverse binds and differences, running the gamut of Mads Emil Nielsen’s sound designs for theatre thru to benjamin Brunn’s nervy dance music and the sheer abstraction of Pierce Warnecke’s computer music.
“»sichten« refers both to »opinions« as well as the »examination of material«. in lose sequence, we will invite friends and colleagues, but especially music lovers to share their opinions on music with us or to look through their collected materials in order to present music that tends to be out of the focus of current media channels.
as a label for electronic music our focus is on examining exactly this genre. but in the context of the series, we are rather looking for more hidden, unknown, perhaps forgotten music. we want to present the yet undiscovered, and also offer a platform for other cultural environments with different musical approaches.
each issue will be supervised and compiled by a curator. an introductory text shall explain the artistic approach of the respective curator. in this sense, the format of a double lp can only provide a first insight and wants to invite to a more in-depth research.
for the first issue of the series, »sichten 1«, we asked frank bretschneider to compile his own, very personal selection of current electronic music. his choice fell on six artists, whose different styles meander between accessible music on the one hand and very abstract compositions on the other hand.”
Gerald Mitchell and Jeff Mills’ jazz-techno group with Kenji Hino and Yumiko Ohno, a.k.a. Spiral Deluxe, cut loose in debonaire ways, backed with a Terrence Parker mix
‘E=MC” unfurls 12 minutes of jazz-technohouse for a lounge in sector 7 of a gargantuan shuttle to Mars, while ‘Voodoo Magic’ shows off the quartet’s unfeasibly nimble mastery of drum machine and live instrumentation, with buff slap bass for measure. ‘The Paris Roulette’ is more low-key, p[riemd for suave run-cutting, and the satin deep house groove of ‘Let It Go’ featuring Tanya Michelle appears in plush original and edit forms, plus a coolly up-for-it house remix by Terrence Parker.
Singular, brilliantly mad EBM and pop experiments on Low Jack’s Editions Gravats from Belgian freak Maoupa Mazzocchetti following his killah co-production on Clara!’s ‘Meneo’ 12". RIYL Matias Aguayo, Drexciya, Devo, Eric Copeland, Iueke, Low Jack, Prince, The Residents...
After scrawling his name on releases with close affiliates PRR! PRR! and for the Mannequin and Unknown Precept labels, new Brussels transplant Mazzocchetti finds good company among the oddballs on Editions Gravats for ‘Gag Flag’’s blend of avant dance music and absurdist experimental pop.
For ‘Gag Flag’ Mazzocchetti adopts the persona of “Snippet Boy”, a fictional avatar who first came to life in his live shows, and now in hyperstitious manifestation on the album sleeve. Lurking behind this persona, Mazzocchetti becomes an art-dance-pop puppeteer who yanks listener’s strings and takes popshots at industry overproduction, deflating egotism and hackneyed convention in a way that echoes the subversive approach of his heroes such as Devo and The Residents.
Using a blend of plugged in and acoustic instruments, Mazzocchetti conjures nine psychedelically misshapen and inexorably funked-up grooves, splashing from the lysergic swagger of ‘Looking For Cheese’ to the Arabian electro-acid styles of ’How To Hate You Without H?’ via the lap-steel dancehall slosh of ‘Ron’s Roof’, demented yacht-boogie in ‘Fonk Left The Ytown’, and what sounds like Depeche Mode doing knackered EBM on ’Sultan 1997’.
This is the sound of an artist unafraid to pursue their own sound and really coming into their own, albeit channelled thru a deflated, winking rubber avatar.
After spreading his wings with The Animals, James Holden really stretches out with North African Gnawa musician Maalem Houssam Guinia in ‘Three live Takes’
Holden helms modular synth while Houssam Guinia provides mesmerising vocals and jangling lines of the three-string Guembri (or Sintar), underpinned by backing vocals and rasping Krakebs (large iron castanets) from Hamza Guinia, Mohamed Benzaid, Amine Bessi and Khalid Charbadou.
In all ‘Three Live Takes’ Holden traces and gilds Maalem Houssam Guinia’s Gnawa fire with washes of astral colour and whirligig chromatic spirals, firstly reservedly on ‘Youmala’, until they collectively reach a transcendent terminal velocity, before taking taking a more central role in the roiling swell of ‘Pass Through The Fire + Bouri Bouri Manandabo’ with its cascading climax, and then gelled in hypnotic, swingeing, and incendiary style synched with the raucous chorus of ‘Baba Hamouda’.
The fairer Kraus sibling, folk singer Sharron, melds tremulous vox and lilting psych-pop for Ghost Box’s Other Voices series, backed with a fizzing remix from Belbury Poly...
Sharron’s original ‘Something Out of Nothing’ is a pastoral folk beauty spiked with spiralling organs and shimmering patina of FX potent enough to make the world melt away for 4 minutes.
On the remix, Jim Jupp a.k.a. Bilberry Poly sounds as though he necked some special herbs before kitting ‘Something Out of Nothing’ with fizzing drum machine percolations for a more sizzling, even sexy effect - that is, if you tend to go on-the-pull in village halls and harvest dances.
Sumac are guitarist and vocalist Aaron Turner (Old Man Gloom, Mamiffer, ISIS), drummer Nick Yacyshyn (Baptists, Erosion) and bassist Brian Cook (Russian Circles, Botch) - their third full length ‘Love In Shadow’, is a brutalizing dive into love and all its raw emotions.
"The album was recorded live in a single room at Robert Lang Studios in Washington by Kurt Ballou (Converge), who later mixed the album at his own studio GodCity. The album flows with the continued momentum from their acclaimed collaborative release with legendary Japanese artist Keiji Haino (Fushitsusha, Painkiller) earlier this year, ‘American Dollar Bill - Keep Facing Sideways, You’re Too Hideous To Look At Face On’, incorporating more freeform abstraction into their raw, bombastic, and jagged sound."
XGLARE is Jessee Egan, a Brooklyn-based producer, sound designer and multimedia artist.
"She has released music under multiple aliases since 2011, most notably on AY Japan. Her latest incarnation, XGLARE, balances warped sound design, unearthly atmospheres and experimental rhythms that reject genre boundaries.
Beats and dance elements take center stage alongside impossibly powerful, almost elemental transitions. Track 1, Lymph sets the tone with an updated halcyon rave sound. Imagine standing in a field in the countryside at an illegal rave at 6 in the morning as the sun is rising, wind blowing in the air. Track 2 Fossa feat ARIADNE, an Opera trained singer, immediately submits you to whisper shouting, a highlight of the album.
In between more dance floor-oriented tracks, Spore and Plexus, sit two sound design gems, title track Morph with its pounding rhythmic charges and vast reverberated rooms, and Ganglia, which reminds of early Do You Know-era Squarepusher. "
Western Vinyl present Brocker Wey’s original score to Netflix documentary series ‘Wild Wild Country’ - the story, which you simply couldn’t make up, about a controversial Indian guru Bhagwan Shree Rajneesh (Osho), his assistants, and their followers in Wasco County, Oregon in the 1980s
While there’s nothing particularly outstanding about the soundtrack, it simply did its job accompanying the images without distracting from them, there are some stronger moments to be found inside on the electronic work Be Grateful for This Beautiful Home, and the grandiose symphonic swells of The Burning Ghats, with its epic piano flourishes.
RIYL Osho, brainwashing, Sainsbury's vinyl section, vinyl frames.
The first ever and definitive discography of Carrie Cleveland, an expanded version of her 1978 album ‘Looking Up’, including both the issue and promotional versions of her single ‘Make Love To Me’, and the previously unknown sweet soul single ‘I’ve Got A Feeling’.
"Privately arranged, recorded and produced by Carrie and her husband Bill as a labour of love in their backyard studio in 1978, ‘Looking Up’ is one of the most in-demand soul/disco LPs in existence, sought-after in particular for their track ‘Love Will Set You Free’. In addition, the promotional version of Carrie’s single ‘Make Love To Me’ is one of the best and rarest sweet soul records to have emerged out of the West Coast soul scene, and her single ‘I’ve Got A Feeling’ is until today virtually unknown even to the most seasoned of collectors, with even Carrie herself unsure if it was ever released. With the album originally pressed in a limited run of just 1000 with 500 copies of each single, original copies of Carrie’s records deservingly command eye-watering figures on the second-hand market. Kalita now satisfy the thirst with the first ever official reissue of her entire discography."
A momentous celebration of one of the last century’s most important composers, offering insight, recognition, and critical investigation, long overdue and lovingly produced. Including an extensive, lavish 120 page book, with numerous unseen images and 10 historic, sought-after and impossible to find albums pressed on 180 gram vinyl - unquestionably one of the most beautiful and important archival releases of the year.
The perfect jump-off for anyone intrigued or beguiled by Lucier’s oeuvre and looking for a way in, ‘Illuminated by the Moon’ was recorded in October 2016 at the Alvin Lucier 85th Birthday Festival at the Zurich University of the Arts and spans pioneering classics such as ‘I Am Sitting In A Room’  thru to his recent piece for Stephen O’Malley and Oren Ambarchi, ‘Hanover’. Along with a fistful of rare works, it adds up to an unprecedented, overdue survey of Lucier’s cross-disciplinary efforts in locating the metaphysics of sound in minimalism, and is arguably the most crucial boxset of 2018 alongside Roland Kayn’s immense ’Simultan’ session.
In deliberate depth and detail, ‘Illuminated by the Moon’ highlights Lucier’s intersections with pivotal contemporaries including Joan La Barbera and Charles Curtis, right up to his work with disciples such as Sunn 0)))’s Stephen O’Malley and virtuoso minimalist Oren Ambarchi, each proving, where needed, evidence of a deeply focussed yet open-minded approach to the phenomenology of acoustic sound.
From ostensibly simple units of sound Lucier extrapolates incredible, otherworldly dimensions, using various extended techniques and recording methods to probe ideas of auditory and musical reception and perception. In historical context, he wasn’t the only artist doing so back then, as the likes of Steve Reich with ‘Come Out’, or his group mates Gordon Mumma, Robert Ashley and David Behrman in Sonic Arts Union also explored hybrids of text/speech/composition, but Lucier’s work stands out for its enduring patience and subtle playfulness in its transformative transitions of texture and tone, highlighted here in his liminal, tip-of-tongue take on ‘Nothing Is Real (Strawberry Fields Forever)’ , and the absorbing roil of his percussive piece, ‘Music For Solo Performer’ .
As with the most recent work on show, including ‘Hanover’ and a number of modern compositions from 2002-2016 with Joan La Barbera and young American cellist Charles Curtis, Lucier’s work has only grown more intently focussed and transcendent over the years and has quietly shifted the understanding of what music can be; laying a mark on history and the expectations of nearly everything to come, while radically expanding the field.
Neatly whisked, warm electro-dub froth from 7FO, waddling and bobbing in space between Jackson “Tapes” Bailey, Sugai Ken, Lolina or Steven Warwick instrumentals, or the lysergic wibble of Black Zone Myth Chant.
"7FO: pronounced “nana f o” in English, “nana” being seven. Ryu no Nukegara: “dragon’ s husk” . These are the only difficulties you’ ll encounter here. This is warm, friendly, very relaxed music, very “understandable” and yet intriguing, sure to appeal to fans of electronic ambient, dub and chill-out music, as well as artists like Haruomi Hosono, Captain Ganja, La Monte Young, Equiknoxx and Tapes.
The Osaka-based 7FO combines groovily sparse electronic percussion with similarly sparse dub-feel synth bass, as well as pentatonic synth and steel pan melodies, the latter with an intriguing Okinawa/Sunda/Malay feel. Sparkling dub-influenced processing and thoughtful mixing gives us a music which is trans-oceanic, warm, and enveloping. Following releases on RVNG, Bokeh Versions and Metron, Ryu no Nukegara is available on digital, CD and 12” LP, featuring a suite of four tracks and the 20-minute title track, whose titular dragon is Asian: a potent symbol of water, strength and good luck.”
Dark Entries chart Italian band Polaroid’s transition from melancholy new wave to darker industrial pop with reissue of their 1984 debut accompanied by 4 bonus tracks recorded c.1987, shortly before they split. RIYL Sisters of Mercy, The Cure, Red Lorry Yellow Lorry
“Polaroid were an Italian post-punk/new wave band, formed in Turin in 1981. The original lineup of the band consisted of Marcello Zavatto (voice, guitar), Massimo Vagnarelli (bass, drum-machine), Evandro Fornasier (guitar), Claudio Vagnarelli (synthersizer) and Marco Farano (Drums). Polaroid made their debut with the cassette 6-track EP ‘Senza Respiro’, self-released in 1984. Influenced by Bauhaus, Joy Division, The Cure, Pere Ubu as well as Chic and Talking Heads. The music was dark and cold, but also melodic especially with regards to guitars and voices. At the end of 1984 the band added vocalist Michele Cantoblundo while drummer Marco left and was replaced by a Roland TR-909.
With Michele began a period of very dark and poetic music, influenced also by bands like Red Lorry Yellow Lorry and The Sisters of Mercy. The band peacefully broke-up in 1987. This vinyl re-issue of ‘Senza Respiro’ contains all 6 original songs with 4 bonus tracks from the band’s later period. All songs have been remastered by George Horn at Fantasy Studios.”
Banging, rugged Japanese folk with shiny, PC Music-like trap updates by Clark Naito. Another beauty on the brilliant EM Records!
“Kizaki Ondo” is a folk song from Nitta Kizaki town in Gunma, north of Tokyo. Played annually by local performers at the Bon-Odori traditional summer dance festival, it features unabashed lyrics about prostitution along with a rhythmic drive sure to appeal to fans of contemporary electronic genres as well as aficionados of traditional musics. The first track is a wildly echoing vocal version recorded in 1980, redolent of humid summer nights; the second track, recorded in 1981, is an instrumental version, both by the Kizaki Ondo Preservation Society. The other two tracks are extensions of tradition, with Tokyo-based producer Clark Naito’s 2018 revisions of “Kizaki Ondo” providing trap-inspired interpretations, with a vocal version using the original lyrics, along with a sweet instrumental take.
Japanese folk song research team formed by Mood Yama and Takumi Saito. They are resident DJs at the renowned party "Soi48" at Be-Wave, Tokyo, featuring music from all over the world. They produce the Japanese folk song mix-CD series entitled "Riyo Mountains Mix" and also direct the reissue series of Japanese folk music on EM Records, including the releases "Yumi-kagura", "Sakai Ishinage Odori”, and "Kizaki Ondo”. Riyo Mountains have appeared as DJs at many events/programs including NTS (London) and Japanese Bon-Odori traditional dance festivals. Their articles about Japanese folk music are now published serially in the Japanese web magazine “boid"."
Seekersinternational do heavyweight dub abstractions and lysergic G-funk for the brilliant Boomarm Nation.
Far less frenetic or cut-up than their recent jaunts, ‘Lost & Found Vol.2’ arrives 10 years after the 1st volume to offers some of the stickiest, most humid and synthed-out gear in their arsenal.
On the A-side’s ‘Friendly Weight’ they daub splashy, psychy synth funk on a wobbling boogie dub flex shook with wooden shakers and smoked-out for the slow dancers. The B-side’s ‘Dub Squeeze Yuh!’ follows in suit with ruddier dubbing, sending the OG synth lixx scudding into the ether around a dazed dub axis.
Originally released on Fetish Records in 1981 as a mini album, Seven Songs topped the indie charts and immediately established 23 Skidoo as a groundbreaking musical force on the post-punk landscape.
Miscegenating Afrobeat voodoo and American psychedelic funk with harsh Industrial electronics, traces of Exotica and wrenched tape FX, it stands out a mile from its era and can be rightly called a seminal record. Its creators Fritz Catlin, Thom Heslop, Sam Mills, Alex Turnbull and Johnny Turnbull were mostly under twenty years of age at the time of recording, and their youthful energy and tastes were subtly corralled by the production cabal of TG's Genesis Breyer P-Orridge and Peter Christopherson, together with master studio engineer Ken Thomas.
Ever since, many, many heads have waxed lyrical about the importance of this album, not least Simon Reynolds and Paul Morley, but it simply is one of those albums that needs to be uncovered by each successive generation looking to become aware of what's been done, in order to move forward. This is the first time it's been officially available on vinyl since 1984, and it's hugely recommended.
"Remastered, this deluxe set contains an additional 35 minutes of material, including cult single The Gospel Comes To New Guinea/Last Words (issued on 12” in 1981) and their only radio session for John Peel, broadcast in September 1981 and featuring four exclusive tracks never recorded elsewhere.
Following the release of Seven Songs, Skidoo issued a series of hugely influential records fusing post-punk, dub, industrial, world and hip-hop styles, including the singles Tearing Up The Plans, Coup and Language, and albums such as The Culling Is Coming and Urban Gamelan. In 2000 the group returned with a self-titled album, 23 Skidoo, and in 2015 issued a soundtrack album, Beyond Time, a documentary film by Alex Turnbull about his artist father William Turnbull."
Cult slab of hybrid Japanese new wave, disco, avant synth-pop and electronic funk from 1981 Japan, dished up for a first vinyl reissue by Switzerland’s WRWTFWW Records. Strange, lingering echoes of ‘70s prog spill into the ‘80s, landing somewhere between David Bowie and Haruomi Hosono...
“WRWTFWW Records is deliriously happy to announce the reissue of the 1981 self-titled album from cult Japanese duo Colored Music, available on vinyl (housed in a Stoughton tip-on sleeve) and digipack CD, with liner notes by digger, curator, connoisseur, writer and legend Chee Shimizu.
An incredible mix of cosmic new wave, unconventional disco, avant-garde synth pop, and hybrid electronic funk, Colored Music is enchantingly unique, a sort of experimental and magnetizing take on David Bowie’s Berlin Trilogy with a psychedelic Haruomi Hosono touch. From the groovy post-punk glam title track to the proto-house dance floor killer "Heartbeat", Ichiko Hashimoto and Atsuo Fujimoto hit all the right (and sometimes not-exactly-right-but-truly-genius) notes to create the odd and beautiful, an unparalleled audio escape to the best elsewhere you can think of.
Also playing on the album are celebrated musicians Mansaku Kimura, Shuichi “Ponta” Murakami (Pacific, KI-Motion by MKWAJU ensemble, collaborations with Jun Fukamachi, Yasuaki Shimizu, Haruomi Hosono…) Kiyohiko Semba, Tamio "Doyo" Kawabata, Pecker (Pecker Power recently reissued by Rush Hour) and Tatsuhiko Hizawa.”
It was 10 years ago, in a house on the outskirts of Santiago, Chile, that Ives Sepúlveda Minho and Manuel Parra started playing music together, and The Holydrug Couple was effectively born. A decade later, they’ve made ‘Hyper Super Mega’, an album that represents the culmination of everything they’ve learned in their years as a band.
"Following the release and surrounding tours of their second album, 2015’s ‘Moonlust’ (Sacred Bones), the duo found themselves back at home, feeling directionless and listless. “The over-riding feeling was one of exhaustion,” Sepúlveda recalls, “exhaustion of the planet and of culture, the overuse of references and information that you see everywhere, in fashion, literature, tourism, music, technology and so on.”
Amidst this feeling of weariness, the words “Hyper”, “Super” and “Mega” struck a chord – these terms with origins so steeped in history and mythology, which have come to represent stark superlatives of consumerism. Hypercapitalism, hypermarket, hyperspace, hyperactive, hyperlink, megabyte, megabuck, megalomania, megastorm, megaplex, superhighway, superhero, supermodel, supersize… “It seemed that the scale of everything over-exaggerates human capacity and time” he notes.
So, the duo immersed themselves in these feelings and started to build the foundations of their new record. Amidst eleven tracks of perfectly-formed, heady psych-pop, ‘Hyper Super Mega’ speaks of immediacy, internet and social media, consumption, love and a comfortable despair at the state of the planet. It tells of a world over-connected through cell phones and information, whilst hinting at the place of occult language and imagery in an attempt to convene different and unknown places, or places that are open to interpretation.
Sonically, if ‘Hyper Super Mega’ feels, in places, like a classic pop record, that’s because Sepúlveda and Parra spent much of the recording process thinking, too, about the classic pop records of the ’60s and ’70s. Masterpieces by bands like The Beatles, The Beach Boys, and Fleetwood Mac were all reference points, not always explicitly in sound, but certainly in spirit. The duo approached the mythos of the “classic album” from their own inimitable perspective, hoping to make a record that felt authentically like The Holydrug Couple that might fit into the same canon.
Overall, ‘Hyper Super Mega’ is a capsule history of The Holydrug Couple, incorporating a decade of experience recording, touring the world, and absorbing the sights and sounds of their native Chile. It marks the 10th anniversary of a band whose next 10 years look even brighter than the last."
Originally released on the Phono label in 1995/96 the ‘Parts’ series from Matthew Herbert are a much loved collection of house tracks that sound just as original and bold today as they did when they were first released.
"This series of 12”s were part of an early wave of exploratory dance music that paved the way for the deep house that still works its magic on dance-floors in 2018 some 25 years later. The mix of Herbert’s playfulness alongside expertly grooving production and unusual sounds makes this unique collection of work. The odd few tracks aside this is the first time that these releases have ever been repressed. All newly remastered for this reissue series, the releases include stone cold club classics such as ‘Deeper’, ‘Take Me Back’, ‘Resident’, ‘People That Make the Music’ and ‘See You on Monday’"
Kim Cascone supplies another ‘90s ambient dream sequence to Astral Industries with a first vinyl edition of ‘In A Garden Of Eden’  following last year’s ‘Lunar Phase’ reissue.
Originally realised at Cascone’s Silent studios in San Francisco for the Space Age Lounge, “a technomystical chill room in Goa, India”, his Heavenly Music Corporation debut is a typically balmy affair awash with tranquil synths and threaded with tropical field recordings to gently levitating effect.
It sounds very much of its time hearkening back to an era when phrases such as “technomystical chill room in Goa” were bandied around without irony, to a time of innocent MDMA experimentation and ISDN video links, right at the start of the internet, a utopian phase before it all went trip hop and everyone spent evenings waiting for webpages to load. Didgeridoos were very popular, too.
To be fair, you probably had to be there or else that period becomes a smudge of cliches as above, but it’s hard to fault the vibes and aura of Cascone’s recordings on ’In A Garden of Eden’. From the gentle swirl of cowbells and circular berthing synths in ‘Cloud Structure’, thru the patter of tropical rainfall in ‘Ambient To Be Here’, to the erotic gasps and ambient techno thump of the record’s title track and Steve Roach’s concluding acididgeridoo excursion, this album is pure paneer, but not without its nostalgic charms.
A collection of valuable passages recorded by The Durutti Column between 1979 and 2011 for various iterations of Factory Records, including poignant tributes to manager/mentor Anthony H. Wilson.
“The Durutti Column was Tony’s baby,” says Durutti mainman Vini Reilly. “We were the first act signed up to his Factory club night, and the first band signed to Factory Records. Tony became my mentor, somebody to look up to. He was a very tough character, yet he was very gentle. He had many sides. The biggest arguments with Tony were that he wanted to stop me singing with my schoolboy lyrics and my dreadful voice.”
Reilly’s music remains resolutely unclassifiable, and sounds better and better with each passing year. “Don’t listen to the form,” he insists, “listen to the content. Don't listen to the style, the tradition, the technique, just the content of the music. Then judge. People say The Durutti Column is this or that. I don’t care so long as we make good music. There's so much good music around. Don't bother with form. Just enjoy.”
Jazzy 1977 rework of a traditional Japanese wedding song, backed with Visible Cloaks’ weightless ambient electronic remix
The 1977 version was conceived by Jazz man Jun Arasaki and his group Nine Sheep, and executed in one take (this recording) on five sanshin, four winds, piano, bass, percussion and drums for a TV broadcast. It’s somehow solemn yet joyous in a slow and stately way, with lyrics describing how “beautiful buds unfold”.
Fourth World inhabitants and dreamers Visible Cloaks remix ‘Kajyadhi Fu Bushi’ in their own image, resulting a diaphanous, gauzy swell of harmonised synth chorales infiltrated by playful ghosts in the machine and weft with elusive traces of the original vocal to sound like a Google deep dream reverie of the real thing.
Jean Cohen-Solal studied flute from all angles, and became one of the great French virtuosi, along with Michel Edelin who at the time was with Triode. This was a period (1972) when flutists were very popular with the public, most of whom had been influenced by Roland Kirk, including Ian Anderson in Jethro Tull. Jean Cohen-Solal tells a different story, richer and centred on the instrument itself, using the magic (yes, that again) of overdubs.
“In a dreamlike fictive and windswept Brittany, hippy pirates and wild women more or less inspired by Gérard de Nerval fight it out in a theatre, the magic of which brings to mind Cocteau, and where musical improvisation has an important role: this is Noroît, a cursed film which was never released in cinemas at the time (1976), directed by the great Jacques Rivette, where Jean-Cohen-Solal, his brother Robert and Daniel Ponsard can be seen and heard playing. The scene is every bit as inventive as that featuring the Art Ensemble Of Chicago in Les Stances à Sophie!
The same magic and invention can be found on this first album by Jean Cohen-Solal: Flûtes libres. A magic which can be keenly felt on "Quelqu'un", a long contemplative mantra which takes up the whole of the B side and which anticipates the future collaboration in the mysterious universe of Jacques Rivette.
Perhaps Paul Horn rather than Roland Kirk could be an influence, but stripped of a classical background which was too audible and a tendency for easy listening. In fact, in terms of comparison, "open music" by Bob Downes would be the closest to the electroacoustic experiments of Jean Cohen-Solal, who, by the way, was also close to the GRM and Bernard Parmegiani for whom he occasionally provided sound sources.”
Following the release of FELT’s first five albums in February, the band’s reissue campaign continues with the second half of their discography.
"During the ‘80s Felt recorded ten albums and ten singles for the Cherry Red and Creation labels. This gorgeously-produced series explores the work of one of the greatest indie groups in recent memory. The next five albums will be released on 21st of September 2018. These vinyl records, unavailable for many years, have been remastered and revisited by Lawrence, and he has fashioned the ultimate definitive collections. They are available in a deluxe gatefold sleeve."