Epoch is the final album in the trilogy beginning with 2011’s Dive, 2014’s Awake and culminating with this year’s Epoch.
"Epoch hones the sonic aesthetic of Dive while drawing on the kinetic energy of Awake, it explores darker themes and new musical territory. Earlier this summer Tycho released their first single “Division” and just last week released their second single and title track, “Epoch.” The surprise album is available digitally today and for physical pre-order now.
When discussing the surprise element of this release Hansen said, “I've never been fond of the ‘hand in the album then wait 4 months for it to come out’ release schedule and with the prevalence of streaming and digital distribution it felt like the right time to step outside that way of doing things.” He continued, “I wanted to be more connected to the people consuming the music. There is a kind of visceral fulfillment you get from sharing something that you've just created with other people. We just finished mastering the album in late august so it will barely be a month old when people hear it. That's a very satisfying feeling as an artist.“
Epoch was produced and recorded by Hansen predominantly in his home studio in Berkeley, California. The album was arranged alongside long time collaborator and partner in the project, Zac Brown. Brown contributed bass and guitar parts to the songwriting process. Rory O’Connor performed drums on the album. Hansen sees Epoch as a multi-dimensional artistic vision at the confluence of his graphic design work via ISO50 and music with Tycho. The graphic presentation of album artwork is as important as the music itself. The keystone is the central image of Epoch and the colors scheme red and black. This is a stark contrast to the almost rainbow palette of Awake."
Described by the label as “a very personal release by the performance and sound artist Pan Daijing, inspired by Arthur Rimbaud’s A Season In Hell. The title refers to objects viewed through a soft filter. Ritualistic, energetic, abrasive, and surrounded by your embrace.
With the resurgence of interest in folk music it's hardly surprising to see countless compilations showing up week after week, but compilations this moving and this important are rarely chanced upon. This disc puts together the lesser heard folk tracks, songs recorded by artists who weren't sponsored by major label money, artists who simply made music because they were desperate to make music, artists free from poisonous delusions of grandeur.
You will likely not have come across one of the fourteen ladies on this disc, but each one has a distinct voice and will have you aching for more - that's the power of this unique compilation. Like last week's sequel to 'Folk is not a Four Letter Word' and the recent Finders Keepers releases, this is music you already love, you just don't know it yet. From heavenly strumming of Linda Rich's 'Sunlight Shadow' to Jennie Pearl's tear inducing piano-led 'Maybe in Another Year' these are tracks which simply make you wonder why you haven't heard them yet.
The voices are so distinct and the songs so powerful that at some point you have to think how odd it is that the records haven't had more publicity, but there we have the power of the major label, and when these gorgeous lullabies were pieced together the independent music scene had little or no power at all. We have to thank Numero for finding and repackaging such essential tracks and treating them with the respect they deserve.
Latency's tenth release is a journey through Nonplace mastermind Burnt Friedman’s elusive repertoire, recorded between 1993 and 2011. Brilliant and pioneering, this is percussive, dubbed-out, minimal, electro-acoustic music. With guest appearances by Hayden Chisholm and Takeshi Nishimoto.
New music from Simon Green aka Bonobo.
"A contemporary of artists such as Four Tet, Jon Hopkins and Caribou, Bonobo also counts among his famous fans the likes of Wiz Khalifa, Skrillex, Disclosure, Diplo and Warpaint. His 2013 album “The North Borders” went Top 30 in the UK and was number 1 in the electronic charts in both the US and UK. In support of that record, the 12-piece band Green runs played 175 shows worldwide, including a sold out show at Alexandra Palace. Bonobo has built a large, loyal and engaged global fanbase: over half a million album sales and over one hundred and fifty million streams on Spotify point to the levels of success achieved by this quiet, self-effacing man.
It might be difficult to imagine it, but “Migration” will take his beautiful, emotive, intricate music to an even bigger audience. “My own personal idea of identity has played into this record and the theme of migration,” Green explains. “Is home where you are or where you are from, when you move around?” The personal, it seems, can also be universal.”
At last, a chance to hear the debut album of motorik jags from Stereolab’s Tim Gane and Joe Dilworth, together with Holger Zapf as the Cavern of Anti-Matter power trio - originally issued on Berlin’s Grautag Records, now reissued on Duophonic.
Revolves a heady rush of references to Bowie’s Chant of the Ever Circling Skeletal Family, Mahogany Brain’s Bloody Hide and Seek in The Rain and Hot Elbow, and the front cover to Heldon 6 shaped into 16 high velocity, high sheen rockets bound to ignite the tastes of classic kosmiche and psych fiends.
Cleveland, OH’s Prostitutes is back on it for Diagonal with a brutalist dress-down called Dance Tracksz, firing some of his most vital material since the Psychedelic Black LP which first caught our attention in 2012.
However, four years on, James Donadio adoes away with the more sentimental parts of his debut in favour of bear-hugging the ‘floor with his most direct and effective dance music to date.
This is industrial body music schooled with a bluntness and unpretentious agenda that money can’t buy, fundamentally built to get you unzipped and bouncing your body off the speakers, walls, other bodies, matched only for impact on his catalogue by the likes of Shatter And Lose, and Ecstasy, Crashing Beats And Fantasy, which perhaps not so surprisingly, also appeared on Diagonal.
Like those EPs, there’s an absolute rejection of shiny tricks. From the screwface PCP slammers Ah Yeah and War Goes On to the pure industrial street funk of Bottle and the riotous jungle-tekno of Prey, there’s no mistaking that he’s bang up for a rave, but even by the end of the night, by the time I Luv U Bruv - his admission of affection for label boss, Powell - proves that even the big radgy guys called Prostitutes go soft every now and again.
A big ol’ party slug for fans of Powell, Beau Wanzer, PCP Records, Container...
Posh Isolation’s elusive Age Coin duo impress with the cranky post-techno deviation of Performance; a lean, nervy and dread bass-fuelled follow-up to their Perceptions 12” - reissued by Luke Younger’s Alter in 2013 - and interim excursions in their other projects, inc. Vår, Marching Church, and the excellent Yen Towers.
Shifting gear from the Perceptions 12”s tunnelling dynamics to more fractured and unsteady structures, the sound of Performance is perhaps best described as a more mutant, buckled and schizzy adjunct to Yen Towers’ garage-techno torque.
Diving in with the stone-carved bass pendulation of Espirit, the session turns to insectoid 2-step and X-Files dub themes in Domestic, before sinking into the Mohammad-like mire of Monday and skimming the effluent roil of Raptor with flinty shards of percussion. A moment for reflection follows with the starkly processed solo keys of Damp, and they sling us back into the pit with the mongrel dubstep of Domestic II, saving the best for last with Headron’s distended bowel movements.
The xx’s anticipated third album, ‘I See You’, is the follow up to the band’s two previous albums ‘xx’ and ‘Coexist’.
‘I See You’ marks a new era for the London trio of Romy Madley Croft, Oliver Sim and Jamie Smith, both sonically and in terms of process - while ‘xx’ and ‘Coexist’ were bothmade in relative isolation in London, ‘I See You’ was recorded between March 2014 and August 2016 in New York, Marfa TX, Reykjavik, Los Angeles and London and is characterised by a more outward-looking, open and expansive approach.
Produced by Jamie Smith and Rodaidh McDonald, ‘I See You’ is The xx at their boldest yet, performing with more clarity and ambition than ever before."
Two years after the release of his debut album ‘Tremors’, SOHN is back with ‘Rennen’.
"In between records, the London-born artist has traded Vienna for the warmth of Los Angeles but the influence of his former home still lingers (Rennen is a German verb meaning ‘to run’). Resuming a nocturnal schedule - as he did with ‘Tremors’ - SOHN spent a month writing alone in northern California, recording until the morning most days.
Including singles ‘Signal’ and ‘Conrad’, the ten songs of ‘Rennen’ are confidently direct and focused. Consciously exercising restraint, SOHN has used only a handful of musical elements on each track, eager to allow the spotlight to shine onthe vocals, melodies and rhythms. An ambitious exhibition of both his personal and artistic growth, ‘Rennen’ confidently displays the evolution SOHN has undergone in just two short years.
It’s also a starter’s pistol ringing out loud and clear with an unmistakable message: it’s time to run again and he’s ready."
Debut album of melancholy electronica. Recorded at Valgeir Sigurðsson’s Greenhouse studio in Reykjavik, Iceland (home to his Bedroom Community).
“A ‘soft error’ is computer language for a faulty occurrence in a digital memory system that changes an instruction in a program or a data value. When associated with music making, it’s a name that inevitably suggest the notion, or even celebration, of happenstance and serendipity, and that’s certainly part of the spirit evoked by Mechanism. A largely electronic pairing, Soft Error are otherwise known as Tim and Rupert, both of whom have musical backgrounds in dance music / DJ culture and composition for film, theatre and TV respectively. Soft Error, however, represents a thrilling new artistic beginning rather than being simply another musical ‘project’.
Mechanism offers a fresh and singular brand of musical intrigue by reaching back and forward simultaneously – drawing from the innovative, propulsive thrum of 1970s Krautrock and the grainy textures and tonalities of the BBC Radiophonic Workshop on one hand, the symphonic, futuristic soundscapes of composers like Cliff Martinez, John Carpenter and Jon Hopkins on the other.That said, there is also something wonderfully timeless about the nine, finely wrought essays on Mechanism, across which synthesisers, keyboards and drum machines are deployed for their sonic and emotive possibilities, rather than as a nod to any particular niche or trend. Indeed, Soft Error demonstrate a facility for fashioning both intimate textural detail and strong melody, often in the same song.”
Siaya County, Kenya meets the German underground on this killer grip of Ogoya Nengo And The Dodo Women's Group revisions from Lena Willikens, Tolouse Low Trax, Don’t DJ and more.
Sven Kacirek and Stefan Schneider’s TAL label returns for a second release that revisits last year’s wonderful On Mande album of Luo standards from Kenyan ensemble Ogoya Nengo And The Dodo Women’s Group. On Mande Versions is a decidedly Düsseldorf affair with Salon Des Amateurs regulars Lena Willikens, Tolouse Low Trax and Don’t DJ all involved alongside Version boss Orson.
The Orutu Run Version from Willikens is an ambitious undertaking, pilfering sound samples from various songs on the album to deliver a cacophony of serotonin-rushing percussive textures. By contrast, Detlef Weinrich opt for a typically less is more approach with his Tolouse Low Trax reduction of Mix Zwei, and Don’t DJ’s Sorbe Pekingese remix employs some of the intricate sonic trickery he used as part of Durian Brothers.To close Orson further embellishes on the spacious vibes explored by Weinrich, twisting some Ohangla drum patterns into a taut, fizzing stepper on Bunde Dub.
Mr. Tophat and Robyn have come together for Trust Me, a three-tracker of dark disco and luscious grooves that only an inspired pairing such as this could conceive of.
"With each track going well beyond the nine-minute marker, Trust Me is the artistic culmination of two artists joining together in the studio and putting pure inspiration to tape, resulting in some of the loosest and most intriguing music either has made in their careers.
Although Robyn and Mr. Tophat have known each other personally for nearly a decade, the first time they professionally crossed paths was last year, when the latter contributed a few remixes of material from Robyn’s EP with La Bagatelle Magique, Love Is Free. “I wasn’t making my own music at the time, so he forced his way into my studio and said, ‘We’re going to make music now,’” Robyn recalls the beginnings of the pair’s creative process. “It was really nice for me to be submerged into his world and lose myself in something that wasn’t my own.”
Trust Me is certainly situated in Mr. Tophat’s world. The Stockholm-based Junk Yard Connections owner and Karlovak co-founder has spent most of this decade releasing a brilliant stretch of side-long singles with production pal Art Alfie. Those singles’ dense, lovingly handcrafted club vibes are perfectly realized on this EP, with some subtle tweaks to the winning formula—a rich intricacy embedded within a deeper-than-deep sound perfect for peak-hour dancing and 3 AM comedown communions alike.
The EP also represents a logical progression for Robyn, calling back both to Love Is Free’s dancefloor abandon and the darkly shaded electro-pop of her 2014 collab with Röyksopp, Do It Again. The title track and “Right Time” shuffle and slither with a jet-black slickness as Robyn toasts and intones over the rhythms, while closing cut “Disco Davato” provides an effervescent finale, with zipping samples and crisp hi-hats providing plenty of upwards propulsion.
Joining Robyn and Mr. Tophat in the studio was Abba’s original drummer, Per Lindvall, who the latter met through a friend at National Swedish Radio. Lindvall lends Trust Me’s tracks a crisp, live feel amidst its sample-based confines—as does bassist (and Per’s brother) David Lindvall, who previously contributed on sessions for Love Is Free. “He can do anything,” Robyn gushes on Lindvall’s contributions.
These contributions only serve to strengthen Trust Me’s disco bonafides, as does Robyn and Mr. Tophat’s appreciation of the genre. “House music is something I’ve been listening to since I was 14,” Mr. Tophat wistfully remembers. “The house songs I like most is house that’s clearly sample-based in disco. That’s the house music that’s really attracted me. For me, it came really natural to discover what’s behind these samples.” “You can hear disco in all club music,” Robyn continues. “It’s the base of so much music that we listen to, and it’s one of the most influential music styles ever. You can hear it everywhere. Disco’s always been in my world.”
And disco will continue to be in her world, as Trust Me far from represents the end of Robyn and Mr. Tophat’s partnership. “We both have ideas of what we can do,” Mr. Tophat says on the pair’s continued work on new material. “There’s a lot of unopened doors.” For now, we can be thankful that they’ve opened us up to their sleek, lovely world on Trust Me—a collection of pure club music, streaked equally with mystery and unbridled ecstasy."
A must-have Early Industrial V-O-D: Steve Hitchcock’s Sheet Tape Registered Black 1977 - 1979 documents the pre-NON Boyd Rice collaborator grinding out uncompromising tape loops and avant-garde noise during his first year at university in San Diego. Alongside the 5xLP NON boxset and the archival Robert Turman LP also out this week, you can basically own the birth of West Coast US industrial music in your mucky mitts.
Steve Hitchcock was clearly that guy at university, the one with his own mail art ‘zine, Cabaret Voltaire, and a most unhealthy stack of outsider, free improvisation, krautrock, early punk and classical avant-garde LPs in his collection. It was through his ‘zine that Hitchcock established correspondence with COUM Transmissions (the proto-TG unit) and became heavily involved with the nascent industrial music movement .
The 16 tracks inside Sheet Tape Registered Black 1977 - 1979 are some of the most feral, atonal examples of this era and sound that we’ve ever encountered beyond COUM or TG, even making the NON stuff seem pretty and playful by comparison.
On the A-side each piece seems to be constructed around jagged, sawn-off loops and intersected by stray radio waves at oblique angles, never ever resolving as a melody or stable rhythm in thee most primitive yet innovative early industrial style. However, he does alter the palette on the B-side, allowing some life in via recordings of kids screaming, yowling in the final parts of Sheet Tape…, and committing one of the record’s biggest highlights with ten minutes of angular rhythmic noise in Coal Hoist Winch Room that’s almost worth the price of entry alone (if you’re into that kind of thing!).
Stunning official re-issue of this cult 80's album from Randomize. Much loved by Trevor Jackson & JD Twitch. An amazing record that was properly ahead of its time when first released.
Legit reissue of a superlative side from the Spanish industrial underground c. 1986, featuring Eugenio Munoz a.k.a. Randomize going solo in a deeply rugged and psychedelic style recalling his input, alongside Luis Delgado, on Mecánica Popular’s cult classic ¿Qué Sucede Con El Tiempo? (1984).
As a skilled sound engineer/keyboard player and half of cult outfit Mecánica Popular since the late ‘70s, Eugenio Munoz honed a distinctive approach to new wave and new age psychedelia which encompassed everything from rooted dub and Afro-latin musics to grinding industrial disco rhythms and shimmering ambient electronics in spacey, sultry, driven grooves which would soon find their way into the cosmic disco sets of Danielle Baldelli and Beppe Loda back then, and later as staples of Trevor Jackson and JD Twitch sets.
Now, thanks to the cultish fervour surrounding Andy Votel and Demdike Stare's reissue of the Mecánica Popular classic, which lead many heads deeper into their catalogue, and with some coercion from his pal, Damien Schwartz, Munoz has dug out the original tapes of his little known LP, ¿Como Se Divertirán Los Insectos? for this reissue, and we can’t praise him enough for it.
In terms of palette and sound design it’s effectively a Pt. II for the aforementioned album, operating at a bass-heavy, chugging pace and rent with heady, sparkling electronics that still sound incredibly, uncannily fresh over thirty years later. However, if there’s any difference, this one feels more tensile, sparse and perhaps defined by its updated hardware; evident in the sheer digital contours of Zero and the bolshy stabs of Brazil or the tumbling, Prince-like Linn funk of Radio Manila, whilst the infectious chug of Movilidad Incesante si a slow-mo anthem in waiting, and the ambient parts such as Subliminal and La Armonia De Las Esferas are weirdly prescient of ‘90s ambient styles.
You know what to do…!
5LP boxset of previously unreleased, rare and archive material covering the earliest years of Boy Rice | NON output.
Vinyl on Demand return to industrial music’s ground zero with a massive haul of early Boyd Rice | NON material dating from caustic his first tape loop works thru rare recordings of live performances in Berlin. In equal parts an innovative, genius, forthright iconoclast and also unfortunately a politically dodgy character, Boyd Rice’s music and personal politics have persistently cleft and smudged critical analysis in music, art and philosophy ever since his self-released emergence with The Black Album in 1977, and subsequently as one of the first artists signed to the hugely influential Mute label.
Dodginess aside, though, Rice is responsible for giving birth to many early industrial aesthetics, eventually crossing paths with many other agitators including Throbbing Gristle (he supported them on his first UK show, leading Daniel Miller to sign him), Steve Hitchcock (who is also subject of a new V-O-D set) and later Fad Gadet’s Frank Tovey, Death In June and others form the hard right of post-industrial and neo-folk music.
This set covers the years just before and surrounding those earliest encounters, when Boyd was clearly one of the most uncompromising noise artists on the planet, practically kickstarting the genre into existence with his hacked loops of girl groups and FM-firnedly pop turned into incessant, brain-stabbing ear spikes, or basically everything turned to tinnitus-inducing distortion.
Don’t expect any songs (and to be fair don’t expect any explicit politics) but do expect some of the most brutal sounds you’ve ever heard, bar none. RIYL Throbbing Gristle, Merzbow, Prurient
Deliciously uncompromising sound design from Gábor Lázár, performing a sort of virtuosic hyper-rave bondage on your ears with Crisis Of Representation; his first release for Shelter Press after a pair of releases with The Death of Rave - including his acclaimed collaboration with Mark Fell, The Neurobiology Of Moral Decision Making - and the ILS album for Lorenzo Senni’s Presto!? before them. If you're into mad sound design, this one comes highly recommended.
Mostly pieced together in 2015, but utilising material made as early as 2011, Crisis Of Representation forms a direct continuation of Lázár’s increasingly incisive composition techniques, offering 7 pieces (+1 bonus on CD) which unknot the same nasal drip motif in myriad permutations of possibility. With that in mind, it’s not difficult to draw an economically short line from his to Mark Fell’s music, but where Fell’s Linn grammar and SoYo accentuation tends to clip itself, Lázár’s compositions ribbon off into unnaturally fluid flights of mercurial, polychromatic acrobatics.
We could imagine that this deeply abstract yet soberly conceived techno sound is antithesis to casual listening. But, if you’re game enough to follow Gábor into the wormhole, and have the head for intense, elusive sonics, then you’ll be embraced by a unquantifiably psychedelic experience quite unlike any other, where notions of “proper” musical convention are upended and rhythm, pitch and tone become fused by your head into scintillating psychoacoustic formations of perpetual tension and amorphous resolution.
Samo DJ “keeps it loose” with Tzusing, Sleep D, Pedrodollar, Baba Stiltz and his label co-owner/regular production spar, Sling, for a diverse, playful session in Born Free 24.
There are two strong reasons you need this one: the first is Samo DJ’s remarkable, wrong-footing NBA killer with Tzusing, which starts life as what sounds like a YouTube house tutorial before the sirens drop and the groove turns into a heavily discombobulated hybrid of dancehall X techno X calypso as you’ve rarely heard. The 2nd reason is a his woodblock techno roller, Track8 written with Sling and gunning strong for the wee gurny hours of the night.
GQOM Oh! documents the dark, beating heart of Durban, South Africa’s underground dance sound in the scene’s first ever vinyl compilation - or any other format for that matter!
The Sound of Durban represents a strong taste of the hypnotic, monotone sound which has emerged as essentially SA’s answer to brooding minimal techno in the wake of Kwaito’s slinkier house styles.
Of course, this gear comes from SA though, and their take on minimal techno reflects a close, inimitable bind of African and Western-rooted traditions closer to the pressure systems of Kuduro, UKF or current Caribbean and South American sounds that any enduro-mince club music from Berlin, for example.
All the producers make their first “official” release here (although you can find loads on the Kasimp3 site), offering a rarely-paralleled survey of rawest, local dance music nurtured in unique conditions but appealing to anyone with a pulse and a taste for freshest club blood.
Clock the samples and start your GQOM addiction, now.
An incredible 2nd chapter of Wold's “mentation electronics” under the Black Mecha moniker for Profound Lore, following the project’s first emergence via The Death of Rave in 2015. This is properly indescribable, genuinely odd music, fused at the meeting point between Black Metal and Power Electronics, think somewhere between the primitive, early experiments at GRM, Maurizio Bianchi's noise reductions and the spannered techno obliterations of Russell Haswell for an idea of what you'll find within.
If you recoiled in horror at their debut LP, AA, then you’ve probably got no business here either. But if that LP stained your mind as badly as it did our’s, you’ll also be ravenous for the visceral effect and burning focus of the project’s second LP.
From the evocative artwork on the front cover, to the track names, and, fundamentally, the sound of monotone revs, Merzbow-like maelody and hackling drum machines, this album speaks in a unique and poetic techno-primitivist dialect whose linear, condensed rage and emotion is belied by a hypnotic sense of resolution and eye-of-storm calm in a way that connects the urges and intent of Black Metal proper both to power noise and industrialised electronics.
Taking cues from occult, surreal sci-fi culture and literature, and delivered from his nonpareil position in the nebulous field of extreme sonics, Black Mecha employs his Internal Masonry thought inference technique with cryptic incision over seven parts: firstly in a series of five succinctly invasive probes, taking in the bitterest electronics of I.M. Mentalizing, the churning revs of Brain Saw and Psy Fall, and what sounds like a spasmodic Maurizio Bianchi in Head Works; and secondly in a pair of relatively longer pieces including the densely layered gale force of Natural Laser and its deeply buried truths, and then, most remarkably, with the intensifying knot of roiling gristle and diffracted, lacerating laser tones in Mental Picture.
If anything, we can safely say that it's a worthy follow-up to its outlandish predecessor, AA, and arguably one of the most vital dispatches from the brink that we’ve heard since that record. If you’ve ever been compelled by music from Merzbow, Alberich, Maurizio Bianchi, Russell Haswell or Dave Phillips, and loved it but weren’t totally sure why, then this album is strongly tipped to you.
Brilliant reissue from Spencer Clark's educational Pacific City Sound Visions label, extracting this 1990 electronic oddity from a strange temporal gooch between the nearly-expired ‘80s new wave and industrial sphere, and the flood of techno and electronic music which would appear in its wake. It doesnt really sound like anything else out there!
Crafted using materials recorded between ’84-’89, Kiefermusik was effectively Dommert’s debut album proper, and one of those records that still stands far out from the time it was made, no matter what way you look at it. From nose to tail, it documents a playfully searching musical spirit coming into its own, following intuitive, subconscious lines of inquiry in order to sidestep orthodoxy and stylistic mimesis and seek out the unknown and psychedelic.
It feels like a tabula rasa for experimental music, shedding the physicality and psychosexual themes of industrial music, the “exotic” of the 4th world and the pop-wise chops of new wave, and filling the space in between with a sort of lysergic, sagely abstraction that characterises an OOBE experience or waking dream.
In the first side, fluttering acoustic guitar strokes are smeared in watery figures with broadcast ephemera and cloven loops accreting sticky noise and impish murmurs but, defocus your ears a little and you’ll also hear the doppler effect of strafing autobahn traffic and unsettling, elusive atmospheric disturbances at its timbral limits - precisely the sort that will have you checking over the shoulder, on the ceiling when consumed in altered states.
The flipside offers equally scant handrails and signage. A ridiculously sped-up intro starkly contrasts with the eerie amalgamation of sound that follows, as the record spins deeper into a crevice of plasmic tones and creaking electro-acoustics laced with haphazardly radio signals and varispeed tape FX in a manner that recalls NWW at their most un/hinged.
Incendiary, rare AF free jazz ripper from Rashied Ali and Frank Lowe from 1973. Out of print on vinyl ever since and a fierce addition to any jazz or avant-garde shelf.
From Thurston Moore's Top Ten Free Jazz Underground (1996): "Frank Lowe has been studying and playing a consistently developing tenor sax style for a few decades now. At present he's been swinging through a Lester Young trip, which can be heard majestically on his Ecstatic Peace recording Out Of Nowhere (1993).
In the early '70s, however, he was a firebrand who snarled and blew hot lava skronk from loft to loft. He played with Alice Coltrane on some of her more out sessions. Rashied Ali was the free-yet-disciplined drummer whom Coltrane enlisted to play alongside Elvin Jones and Pharaoh Sanders (and Alice) in his last mind-bending, space-maniacal recordings (check out surely the Coltrane/Ali duet CD Interstellar Space (1974)).
Elvin quit the group because Rashied was too hardcore. Those were the fxckin' days. And Rashied had his own club downtown NYC called Ali's Alley. Duo Exchange is Rashied and Frank completely going at it and just burning notes and chords wherever they can find 'em. Totally sick. Survival was Rashied's record label which had cool b&w matte sleeves and some crucial releases mostly with his quartet/quintet and a duo session with violinist LeRoy Jenkins.”
You Speak What I Feel are Terre Thaemlitz (DJ Sprinkles), Mark Fell + Mat Steel (SND), presenting here a previously unheard House killer produced in 2002 and completely destroying us!!!!
Next in our 12 x 12 series is this total fxcking peach of a collaboration made in 2002 by three peers with a mutual passion for the deepest, original NYC garage and house grooves. It’s the first time that longtime friends Sprinkles and SND have used their collective handle You Speak What I Feel since an appearance on a Comatonse 10th Anniversary Compilation back in 2003, and finds the trio at their deadliest; producing a deep-as-anything, peak-time doozy riding a strolling bassline, pointillist claps and effervescent chords for 10 minutes of swingers’ bliss.
Since the late ‘80s, on either side of the Atlantic - Thaemlitz in the depths of NYC; Steel + Fell in the pivotal Sheffield rave scene - both groups of operators were indelibly influenced by the sensuality and egalitarian politics of the House music movement which had spread from marginalised Gay and Black communities in urban American cities to take root in places such as Northern England, where, back then, as now, many young people felt an instinctive affinity with house music and its origins.
By the late ‘90s Thaemlitz was established as a hugely individual artist and DJ blurring the distinctions between ambient, concrète and dancefloor musics. A few years later, In 1998, Fell + Steel forged their SND alias in Sheffield with a series of records that radically reduced garage to its barest essence. Fast forward a couple of years and it was only a matter of time before the trio would consolidate their discrete, cerebral and deeply sound-sensitive approaches in the most devastating fashion imaginable.
Made in 2002, at a time when House was firmly into its ‘mnml’ phase, and original Garage was reserved to weekenders or sped-up, 2-stepped and hyper, the elegant gait and sublimely tactile insistence of My Good Friends Tell Me That is a rare, exceptional example of producers returning to and reworking the foundational template and cooking up something fresh yet timelessly future-proofed in the process.
It’s a prime example of economy, discipline and restraint at the service of hedonism and a deep burning emotive grip, and we’re immensely proud to make it available for public consumption for the first time, at long last.
V-O-D really push into uncharted territory with the astonishing Mexican Cassette Culture - Recordings 1977-1982 boxset, shelling some 33 tracks of idiosyncratic, proggy and noisy synth music from beyond the beaten track.
Probably fair to say that unless you lived in or around Mexico during this era, or were acquainted with Eurock Magazine’s Archie Patterson, it’s highly likely that this boxset is a wormhole to dimensions you didn’t know existed, until now! There’s a wealth of original music inside, fathoming stacks of Tangerine Dream-style pieces which sound more like Leyland Kirby, plus some really strange, primordial drones, and 4th world interstices.
“The new Vinyl on Demand Mexican Cassette Culture box set offers a flashback to what was perhaps the greatest musical era and some of the most original music produced in the late 1970’s to mid 1980’s.
This Box covers many of those experimental artists from Mexico such as Aristeo, Via Lactea & Carlos Alvarado, Hilozoizmo, Decibel, Oxomaxoma with Arturo Romo & Jose Alvarez & Miguel A. Ruiz and Voldarepet with Arturo Meza, Juan Wolfang Cruz and Marco A. Godinez.
This kind of music opened a door to an incredible new chapter for many people in the music-scene; One of those discovering the outstanding and amazing Experimental Music from Mexico as early as 1979 has been Archie Patterson of Eurock-Magazine who started to distribute experimental music primarily released on Cassettes which he had also covered and written about in his magazine established in 1973.
At that time, visitors from south of the border came to LA bringing him and a few others music-cassettes and LPs, shortly after coming to buy music and take it back to their record stores in Mexico City. A musical link was created that still exists today. Listeners of Experimental & Electronic Music incl. VOD itself would probably never have heard about such true hidden treasures released on this Box without such protagonistic networking, distribution and promotion back then.
Today there still is nothing that sounds like what you'll hear when listening to the sounds on these long lost cassette artifacts. In fact, the music never sounded better after to the excellent sonic restoration done by Jos Smolders of Earlabs.
The Mexican Cassette Culture box set offers indisputable proof that music is the one art form that transcends time as well as all cultures and geographical boundaries…”
Vakula revives the Bandar series with a plunging skank into Rhythm & Sound-style dub, rife with the nebulous, cosmic details you’d expect by the DJ and producer form Konotop, Ukraine.
A-side is an elementary, organistic display of dub science following a lone, modulated chord deep into the heart of the echoplex, stepping off undulating subs in acres and acres of dusty negative space. Y’know, like Rhythm & Sound.
B-side it almost sounds like he’s about to launch into Queen or King Of My Empire with Biocenosis, effectively replacing the vocal with a wistfully lyrical lead synth line, before the recumbent bass of Bifurcus tilts us skyward to a starlit lightship, and Binarity investigates greasier, lounging spheres.
Harvey Mandel is among the most innovative guitarists to emerge from the Chicago blues scene of the late 1960s. He came up in that scene alongside Charlie Musselwhite, Mike Bloomfield, Barry Goldberg and Steve Miller, leading to an invitation from Bill Graham to open for Cream at San Francisco's Fillmore Auditorium in August 1967.
"Mandel was a member of Canned Heat, appearing with them at Woodstock. He played on numerous John Mayall albums, and on the Rolling Stones' 1975 LP Black and Blue ("Hot Stuff", "Memory Motel"), having auditioned for Mick Taylor's job, which ultimately went to Ron Wood. Known for his "tapping" technique and sinewy, sustain-driven phrasing (thus his nickname, "The Snake"), Mandel's solo albums such as Cristo Redentor, Baby Batter and Righteous have been sampled and drooled over by guitar geeks, DJ's, and fans of funky, soulful, otherworldly composition. Harvey's fifteenth studio LP and his first widely distributed album in 20 years, Snake Pit was recorded in two days at Fantasy Studios in Berkeley, CA. Harvey teamed with fellow Chicago-based musicians Ben Boye (keys), Ryan Jewell (drums), Brian Sulpizio (guitar), and Anton Hatwich (bass), who have all played with singer/songwriter Ryley Walker.
Harvey and the band had not met previously, nor had they rehearsed. He played snippets of song ideas for the band on his iPhone, and then they would lay down a track in one or two takes. Hard to believe when you hear the album, but that's exactly how it went down. Minimal overdubs with strings and percussion were added, but mostly what you hear is what happened spontaneously in the studio. The album contains six new original compositions by Mandel and two revisited songs : "Baby Batter" from his 1971 Janus LP of the same name, and "Before Six" by Larry Frazier, which appears on his first album,Cristo Redentor. Snake Pit marks a spirited return in a career that now spans six decades -- all the more intense and poignant given Harvey's recent battle with cancer. Read more about Harvey Mandel via Aquarium Drunkard."
One of the scene's most distinctive new artists invites you to tour his private Grotto on his return to Local Action, presenting a syncretic, dizzying blend of styles that mirror Lil Jabba’s visual praxis at his eponymous Brooklyn loft studio.
In Lil Jabba’s idiosyncratic world, footwork, jungle, southern hip hop and ambient electronics are malleable, sculptural elements waiting to be animated in noumenal, sui generis forms resembling variegated rave golems and strange, gurning creatures.
From the cackling entities of Waif thru Crawl’s haunted footwork to the latinate downstroke of Skattered Tags, he pursues an elusive muse thru mazy arrangements of nervous percussion and mutant, synthetic tone; crimping the rhythm from Burial-esque dubstep in Grotto to rolling deep tech in Industry and scuzzy warehouse jungle on Cave Painting, spiralling down dark corridors of bombed-out garage in Solem and nailing wicked blends of southern 808 and Italian horror music in Ombre, and a sharp twist of weightless, piquant jungle in Lime.
Strictly speaking this ain’t club music, per se; more a poetic, parallel world somewhere between the ‘floor and the imagination.
4LP, 80-track boxset of previously unreleased, rare and archive material dating from the band’s formation in 1980 to the end of their Recloose Organisation label in 1986. A total must-have for those digging into the primordial roots of the UK underground’s strange affection for crooked outernational grooves, queasy electronics and salty distortion - basically everything from Downwards and Blackest Ever Black, and mavericks ranging from DJ Scud to Muslimgauze, Batu and Powell. So good...
Simon Crab’s Bourbonese Qualk were among the most distinctive, politically-charged units of the post-punk, post-industrial firm during its critical 1980-1986 phase. The band’s longest standing member has now selected some 80 peaches from the vaults, effectively closing the gap in any fan’s collection, and opening a very pickable sore wound for any newcomers.
Formed in Southport circa 1979 (but eventually embedding themselves in the South London squat scene) with their first performances described as “mainly vandalism”, the group left a unique, mostly instrumental trail of eldritch atmospheres, atonal synths and infectiously rugged rhythms in their wake which, over 30 years later, still stands out from the crowd today; cropping up as an influence over Raime’s Quarter Turns… album and regularly hailed among the most pivotal underground music in their field, largely thanks to their proper sense of DIY collectivism, a killer back catalogue and countless squat shows, as well as the legacy of recordings on their seminal Recloose Organisation label - home to Bryn Jones’ earliest output as E.G. Oblique Graph - which operated during the years covered in this boxset before turning into New International Recordings.
Archive 1980-1986 is little short of a treasure trove of mutant UK industrial at its widest definition. Starting out with the almost psychobilly swagger of Victims, recorded live at the Sandbaggers Club, Southport, 6th August, it covers far, far too much material to run down individually, but chucks up some immense highlights throughout: spanning super hard-to-find bits like the Sufi-esque proto-techno of Flow on Disc 1; a bevy of cranky jabs and droning vignettes, plus the deliciously dissonant curdle of Work Rhythms In May (1982, previously unreleased) and the much sweeter, exotic infusions of Sunset Sex and Return to Order, both from 1984 on Disc 2; before the clag begins to dissipate and the production feel became broader, more defined, in the likes of Papal Order’s thrumming bassline or the minimalist Hypnobeat styles of Moving Forward, even dipping to Balearic sway in Under Observation (1985), and the serpentine seducer Into Innocence, which is just about as close as we’ve heard to a prototype Raime; whilst Disc 4 leaves us floored with pieces such as the heavy-lidded pop of New Jerusalem and the proceeding suite of gamelan and drum machine rhythm tracks, or the bombed out slugs of Trapped and Bourbonese Qualk’s 2, all circa 1986.
We’ve no doubt that this is one of the strongest V-O-D boxsets to darken our doorstep.
Every year/year and a half, Smalltown Supersound founder Joakim Haugland puts together a label compilation to see where the labels at and where it`s heading.
This years compilation became a 2016 Best Of Compilation, with tracks from all of the albums and EPs released in 2016. 9 tracks feature from Biosphere, Prins Thomas, Dungen, Supersilent, Kelly Lee Owens, Lindstrøm, Mr Tophat & Robyn, Mungolian Jetset and Dan Lissvik.
A Winged Victory For The Sullen, the otherworldly collaboration between Adam Bryanbaum Wiltzie and Dustin O’Halloran, commence the New Year with their third full-length.
"Adam Bryanbaum Wiltzie and Dustin O'Halloran first met the director Jalil Lespert after he had discovered A Winged Victory For The Sullen on a music search online. After listening to their music, he immediately knew: "it was the sound of my new film". With an excellent cast of France’s finest actors Romain Duris, Charlotte Le Bon, and the director himself, plus a script filled with tension, sexuality and darkness, they knew there was a lot of musical territory to mine. It was agreed that they wanted to explore more analogue electronique experiments as well as working with a large string ensemble, to create something that felt very modern and still cinematic.
“Despite A Winged Victory For The Sullen being associated with film score type music, trying to survive the process of creating the modern film score is not for people with fragile egos. It requires those who arethe most responsive to change. The director and the film presented a new set of challenges, so we decided to stop thinking about cinema as an object, and moved closer to using the film’s images as triggers for experiences. The more we were able to let go, and see the music as something that happens, like a process – not a quality, the more we were able to reach a place that sounded like us. It was as if we were making our first record all over again, except being filtered through another language littered with dead metaphors”, the duo elaborate.
The recording sessions began with their long time sound collaborator Francesco Donadello in the form of some modular synth sessions in Berlin. Dustin and Adam began working from the script in their own studios, and after filming commenced they continued to create music that could be used for first edits of the film – each day getting new scenes that triggered ideas that would become the base of the film score. Over the course of the next few months the two slowly crafted the music with weekly discussion from their studio to the editing room.
The final sessions to what is now the score of Iris were recorded with a 40-piece string orchestra at Magyar Radio in Budapest.Upon label founder Robert Raths' request the over sixty minutes of material were then edited down to a concise album listen at forty-one minutes with a physical release set for January 13, 2017. The digital bonus track edition includes two solo pieces by Adam Bryanbaum Wiltzie entitled The Endless Battle Of The Maudlin Ballade Part 2 and The Endless Battle Of The Maudlin Ballade Part 3, as well as tracks by Petite Noir, dOP, DJ Pone and The Shoes which feature in the film. The artwork was created by Berlin based illustrator Stephanie F. Scholz who also created the iconic cover for Nils Frahm's Music for
The Motion Picture Victoria."
Some of the earliest recordings of Robert Turman compiled...
V-O-D rip right back to Robert Turman’s pivotal Solo Works 1976-1979, covering his years in San Diego, CA and the development of his stuttering, loop-based techniques which would wind up on NON’s seminal debut 7”, Mode of Infection / Knife Ladder in 1979. While a number of Turman reissues and retrospectives have been issued by Spectrum Spools, Baba Tonnere and Dais Records in recent years, only the Hanson Records reissue of Chapter Eleven drills so deeply down into Turman’s early work as this side, which ratchet the LP’s historical value for industrial diggers and tape-loop fetishists alike, at the very least.
The five pieces on Solo Works 1976-1979 range from a pair of spiralling, 16 minute cut-ups to three slightly shorter parts of burred, fuzzy psyche-rock explorations, all amply demonstrating the dichotomous nature of Turman’s work in a way where other reissues have tended to focus on his dry drum machine pieces or hypnotic droning repetitions.
Those three psych bits can be considered in a long, throbbing vein of Californian psychedelia, smudging raga-blues like repetitions into cyclical krautrock and new age structures, alternately headed for a fugged-up sunset horizon in Phase Three, or for less foregone conclusions with the saturated, distorted echoes of ES335A, while ES335B appears to plug the gap between the florid mid ‘70s styles of Franco Falsini and Alan Licht’s saltier, distorted improvisations.
However, the most innovative, intriguing and unique parts of this LP belong to the A-side’s 76A + 76B. Presumably titled after the year in which they were made, both parts display Turman developing an hypnotic looping style, reclaiming and reworking rough-cut chops of easy-listening, soundtrack and novelty records into non/linear psychotomimetic messages - one serene, one blast of parpy fanfare - in a way that will clearly ring bells for anyone who has undergone NON’s first, primal loopers.
Essentially this stuff is a missing link between the sort of Burroughsian cut-ups, academic minimalism and psychedelic sides which predated this record, and the reams of lo-fi, punkish and playfully experimental music in its wake from NWW, Carl Stone and Nicolas Collins’ Devil’s Music thru to Jan Jelinek’s loop finding jazz or the ethers of The Caretaker and Indignant Senility.
Brilliant, important material.
Obscure, cultish mid ‘70s experiments in collage, electro-acoustic and psychedelic styles. Sounds like pretty much nowt else we can think of…
“Beyond the Black Crack was the concept of Reverend Dwight Frizzell, a musician, film maker, Doctor of Metaphysics and minister in the Universal Church of Life. It remains a little known classic, and one of the most unique listening experiences in modern experimental music. Recorded between 1974 and 1976 in locations as diverse as factories, the pyramid opposite Harry Truman's grave site as well as more 'conventional' concert settings. Beyond the Black Crack is a dark, dizzying and exhilarating journey through free jazz, electronics and environmental sound, all shattered by Frizzell's radical tape editing. This CD re-release adds further material to the original LP: - "The Wandering Madness of Basilea", a suite from 1977 unheard until now, as well as unreleased material from the Black Crack sessions.
Beyond the black crack was originally released in mono in an edition of 200 copies by Cavern Custom in 1976 (cat. no. 6104-12), to commemorate the First Annual End of the World Celebration, November 18 1976.”
V-O-D dig out and dust down Click Click’s addictive, unique British EBM and synth-pop songs from Demos 1982 for a first ever vinyl issue.
Originally released on tape as Demo Winter 82, the Luton-based siblings’ debut preserves a remarkably well developed, innovative take on then-emergent styles; whether short-circuiting synth-pop with “real” drums, or rewiring post-punk without guitars, they evidently eked a distinctive style from that era’s creative uprising.
From the top, Exit sounds like a strange hybrid of The Human League and The Buzzcocks, whereas the swaggering, pulsating Documents pits tribal toms and breathless vox recalling Wire in a strangely off-centre but driving dancefloor ace beside the nervy, gothic EBM propulsion and pained expression of It Doesn’ t Hurt.
The most dramatic piece is also the album’s slowest, with the creepy, furrowed paranoia of Warfare’s noirish sci-fi pads and urgent delivery giving way to the grimacing EBM jag, Hand’s Fall Backward, before heading off at a perfect angle with an unmissable cover of Chuck Berry’s Around & Around.
Simmering house sweeteners from Seb Wildblood, gearing up his SW label with two chiming, Melodic Tools that dance between Lawrence meets Larry Heard styles in MT01 and low-key, jazzy Move D feels in MT02.
Mike Dunn gets disco-down with three edits of Chicago house foundations from Prince, Don Armando and The Jackson 5
The Purple One’s club classic, Controversy, is re-cut along the lines of the Secret Mixes Fixes take, focussed on the “why can’t we all be nude” motif and with signature MD drums, whereas the Don Armando is a camp slice of disco kept rude for the Chi crowd, and that Jackson 5 take is just heavily infectious.
Rotten, mutant techno bangers from BANK Records NYC, following a slew of aces in 2016 with Strahinja Arbutina’s debut slug of four brawlers; a proper beat-em-up romping from salty, atonal slammer Paljba to a hardcore techno assault called For Shirtless Dudes Only, and the deeper 303 techno rub of Podmukli Acid.
Juju & Jordash are back with their first studio productions in a long time on this fine three track exercise in improv house and techno wiggles.
Amidst plans for global festival and podcast domination, Dekmantel are smartly maintaining the quality control of their long-running label operation and we're always happy to see some fresh material from master curmudgeon Jordan Czamanski and Gal Aner’s Juju & Jordash. After recently minting another new Dekmantel offshoot dedicated to capturing live performances, Aner and Czamanski score this brilliant three-track studio excursion for the first Juju & Jordash original material in 18 months.
As wilfully improvised and experimental as you’d imagine, What About Tuesday? canvasses the various moods Juju & Jordash are capable of. Monday Mellow kicks off on a gentle Downbeat-style vibe, billowing deep house vibes nudging you suggestively whilst distant synth wiggles mimic a whale’s mating call.
Wednesday Something nails what we love about Juju & Jordash; expanding out from rugged drum machine hits into a full blown, improvised intergalactic jazz-tech stomper, the tracks twists in all sorts of freeform directions before it’s done. To close, Thursday, Heavy throws down chilling synth manipulations over a satisfyingly crunchy house groove with plenty of trademark Juju & Jordash rhythmic unpredictability.
Utterly sublime ambient jazz from consummate, lower case collaborators, Timo Van Lujik and Andrew Chalk, joined here on piano by Tom James Scott (Charcoal Owls, Liberez) in a subtly breathtaking LP of melting romantic gestures and spectral electronics. Big recommendation if you're into David Lynch, Bohren Und Der Club of Gore, Af Ursin, Oren Ambarchi...
Their 8th album - alternately released like all previous Elodie LPs since 2011 on the duo's respective labels, La Scie Dorée and Faraway Press - they navigate thee finest line of anticipatory tension and vaporous release, resulting in some of the most tender, unshowy yet arresting musical expressions that we’ve heard in years.
In eight parts they expand, contract and drift off on shafts of moonlight, oscillating shorter vignettes which appear like magnetically suspended bonsai trees - as with the hyaline delicacy of Matin de Marbre or the latinate acoustic guitar that slides between the silken ambient tones and Feldman-meets-Sakamoto keys of Par La Main - with longer sections such as the midnight stroller Le Jardin Onirique and the B-side’s sail-away suite of three pieces, including the unmissable title track, afford teasingly intangible visions of a sound which we’re sure everyone can agree, is some of the most beautiful music imaginable.
We were lucky enough to catch the duo in this record’s line-up with Tom James Scott at Salford’s Islington Mill in 2016, where we witnessed them totally silence the room with an almighty, barely-there demonstration of how to enchant a crowd. As with everyone else in the room, we were duly pinned to our seat for the duration, with incidental creaking chairs and refrigerator hum only heightening the sublime tension whilst waiting for the trio’s next, curious jazz chord in sequence, or when attempting to follow their chromatic gasses off into the ether.
Like the weeks after seeing their show last year, you just kinda want to make sure everyone in earshot knows about or can at least get a glimpse of this music. It just seems to reset everything...
Two years in the making, Howlround’s haunted tape loop constructions have found their perfect home soundtracking the sublime images of filmmaker Steven McInerney and the result is the unique audio-visual collaborative project A Creak In Time, available via the latter’s Psyché Tropes label.
"Comprised of Robin The Fog, Chris Weaver and four reel to reel tape machines, Howlround create unique and immersive compositions and performances by direct manipulation of natural acoustic sounds on magnetic tape, with all additional effects and artificial reverb strictly forbidden. For this soundtrack, their most ambitious yet, the group have created a striking body of work made entirely from field recordings of different objects creaking: tiny and insignificant sounds, that, when amplified and extended via magnetically charged oxide particles begin to take on a curious new identity.
Taken from source material discovered in London, Yosemite and the Mojave desert, these sounds, through simple manipulation, gradually cast off their moorings and head into space, leaving their original identities far behind and chiming perfectly with the film’s recurring themes of transformation and altered perception, switching scale in a heartbeat from microscopic topography to the vast distances of the cosmos. Shot entirely on 16mm film with a musique concréte soundtrack, it’s both science and fiction and marks a dramatic new direction for all involved.
Steven McInerney is an Australian born multidisciplinary artist based in London. He is the founder of Psyché Tropes, an experimental label and film project focusing on the synaesthetic intersections between sound and its visual counterpart. Working predominately with 16mm and sound he creates recherché non-narrative works using in-camera and camera-less filmmaking techniques while performing live audio visual shows as Merkaba Macabre.”
Last year, Music From Memory released a brilliant retrospective of Vito Ricci. Music for Amiga is Ricci’s first vinyl record of original music in decades.
A Symphony For Amiga is an immersive, imaginative suite of ambient themes made using Laurie Spiegel’s Music Mouse software, by Vito Ricci - the celebrated downtown composer whose Music From Memory (1985) LP lent its title to the eponymous label, and was subject of their 2LP retrospective, I Was Crossing A Bridge in 2015.
It’s the response, or result, of a commission from Sanna Almajedi and Invisible City’s Gary Abugan to participate in the exhibition, Intelligent Instruments, which places a necessary focus on the Commodore Amiga PC’s history and influence over a whole generation of artists working with electronic music in the ‘80s and ‘90s.
Laurie Spiegel’s Music Mouse software was written with a “built-in knowledge of chord and scale convention and stylistic restraints” which was meant to allow the user a more intuitive compositional process and place more “focus on the other aspects of music in real time”, effectively freeing the user for improvisational purposes.
In Vito Ricci’s hands, the results of his time spent with Spiegel’s gadget sweetly live up to her intentions, offering 12 succinct yet dynamic pieces riddled with Ricci’s painterly flourishes and invitingly warm melodies, flitting between quick osinatos, Nancarrow-like discord and tonal depth with seemingly effortless ease and agility.
Repress of the debut album by Posh Isolation principal, Loke Rahbek’s Croatian Amor, readied to sate appetite for the hard-to-find original, and likely suck a new bunch of listeners into Rahbek’s tortured romantic style.
It reminds us of the rawest Croatian Amor; creeping into sight like the soundtrack to a New Order fever dream with LA Hills Burn at the Peak of Winter before sashaying thru the iced out dimensions of Transit and Generations’ cinematic themes to the Prurient-aping New Year and numbed loneliness of The World by the album’s end.
Subtly uplifting, dusty and driven deep house from Bruno B., a.k.a. Folamour with Shakkei for All City, and previously on 12”s for his Moonrise Hill Material and FHUO Records labels.
A-side he marries windswept flurries of jazz keys to a heavy swanging and stepping deep house groove like a rawer Henrik Schwarz piece. B-side, he simmers down to the shuffling percussive hustle and swooning harmonies of Maybe I Did Burn Ya Place, and then gets all disco plush with Each Day Is The First Day.
Laibach needs no introduction as so much is already written and known about. Laibach's Live in Hell-Recording from Hertogenbosch in Holland was originally released as Tape on V2 Organisation in 1985 and in 2010 was released as limited edition of 99 red vinyl as a special bonus disc to the Gesamtkunstwerk boxset on Vinyl-on-Demand.
"This is now the opportunity to also complete the 6LP-Set of Gesamtkunstwerk by adding this release to the Box or simply just enjoy this great live-performance. "Live In Hell" Recorded Live At V2 Organisation, Hertogenbosch, Holland On 28.06.1985 (Previously Released As Tape On V2-Archief).”
Fluffy but needling bleep ’n bass techno from Holland’s Efdé on Tom Trago’s Voyage Direct; fronding the ‘floor with the effortless gait and mesmerising arpeggios of My Bleep, which also appears as a sleek, burning synth solo recalling early Kassem Mosse records, beside the ricocheting electro boogie swang of Just Did It, and a deeper rub ’n tug called CMP135.
We can hardly believe it, Bohren Und Der Club Of Gore’s diaze-jazz masterpiece finally touches wax some 16 years since the original CD first cast its long shadow over our evenings. Quite simply; a must-have for fans of Lynch & Badalamenti soundtracks!!!
After spending so much time with this essential record it’s become even harder to sum up its impact as it just defines a whole sound or even a feeling for us, and we’d ideally rather leave that definition as smoky and mysterious as the sounds that curl from its black grooves.
It’s an album best absorbed or drunk deeply with close friends or solo in comfortable, low lit situations, preferably with a single malt and mellow smokes for best reception if that suits you. What ensues is as life-affirmingly contemplative and uncannily memorable as it gets, conjuring imagery of classic film noir and rainy city panoramas that conveys an underlying, romantic darkness which faultlessly seduces us every time.
Quite honestly, every home should own a copy for those times when nothing else will do, holding up a rain-spattered black mirror for those times when you’re at the end-of-the-rope, dangling for life, just can’t figure out your feelings, or need reassurance that you’re not the only one prone to those thoughts.
Stunning, often ecstatic and frenzied album of 12-string fingerstyles - hugely recommended.
The lesser-spotted Poon Village pick Boston-based Rob Noyes’ captivating debut LP of Basho-esque 12-string fluidity, The Feudal Village for release some two years after their excellent excavation of William Winant’s virtuoso percussion on Five American Percussion Pieces. We’ll be damned if this isn’t some of the most amazing guitar work we’ve heard since those Tashi Dorji records.
With the Demo 2014 tape already to his credit, The Feudal Village necessarily presents Noyes to a wider audience, well, at least those who are lucky to snaffle a copy of this record, which is already - perhaps understandably - trading for twice the shelf price 2nd hand. And we say that as admitted dilettantes to this deeply-rooted genre, although it’s really not hard to hear that Noyes style is deeply impressive.
In eleven parts he’s the best kind of show-off, weaving his elaborate melodies and complex harmonies so quickly and with such rhythmic intricacy that it’s a joy just to try and keep up with him. But once you’re settled into his elemental cadence you’re in for a gripping 35 minutes which only feels half as long by the run-out groove.
“Rob’s playing carries the weight of many possibly imaginary forebears, but the way he smears them all together shows a holistic mastery of touch and imagination that defies a lot of today’s players” -
Lushest fever dream ambience from Japans Masayoshi Fujita on prepared vibraphone and Faitiche caretaker Jan Jelinek on loops and small scale electronic devices. Definitely worth booking some time off to really immersive yourself in this one, especially if you can’t afford a holiday this summer!
The following correspondence from Jelinek to Fujita gives a firm measure of Schaum’s loveliness:
"Dear Masayoshi Fujita, many thanks for the audio files. Your additional vibraphone recordings go wonderfully with the material we have already. Preparing the vibraphone with more percussion instruments was the right decision. Combined with my tightly woven synthesizer and sample loops, the result is a fragmented sense of space. I have taken the liberty of manipulating certain recordings. While listening through our improvisations, I noticed a tendency towards atmospheric sounds. I am almost tempted to call them tropical. This has strengthened my resolve to work with dense background textures - among others, I'm using material produced in connection with my radio pieces 'Kennen Sie Otahiti?' (2012) and 'Dialoge zur Anthropologie' (2013): artificial field recordings, jungle and rain forest settings that do not hide their staged, fictional character. As you know, I have long been obsessed with the tropics. This obsession involves a mental image of a specific quality of landscape: deliriously extravagant unstructuredness, hostile to life but also excessively productive. I am fascinated by the idea of installing clear minimalist forms amid such luxuriant tropical growth. Perhaps my image of the city of Brasilia is a good example. Corresponding to this, I would like to expand our liner notes to include a quotation from Robert Müller's novel Tropics, an expressionist travelogue published in Germany in 1915. It goes without saying that this work cannot be wholeheartedly embraced: its imperialistic fantasies of omnipotence and its 'master race' posturing, characteristic of that time and place, are, of course, intolerable. Tropics is fascinating as a nervous jungle phantasm that openly indulges in exoticism at the same time as deconstructing it. In this way, the main character's adventure becomes a journey into the subjective. It resembles a feverish inner delirium, exposing exoticism as a simulated, utopian perspective. What it boils down to is insubstantial, nothing but foam and froth. With best regards, Jan Jelinek”
Outta sight since early last year, LA’s Delroy Edwards gets back in the game with Hangin At The Beach - a 30-track, 52 minute mixtape/album of sand-in-the-machine funk and nostalgia for sun bleached ‘80s garage wave pop.
It’s the kind of thing you might expect from a humid weekend spent between James Ferraro, Eric Copeland and Legowelt, only way funkier; maybe more like a zonked out DaM-FunK jamming with Zak Mering’s Greatest Hits, or the teenaged tapes of a stoner surfer with lots of dream time on his hands.
The tracks are all so short, and with so much variation, that he’s almost comparable to a young Rodney Mullen freestyling with tapes, synths and drum boxes instead of a skateboard, nailing the vibe with a deceptively effortless, louchely personalised style that’s key to whatever he turns his hand to, whether its Slowed Down Funk or rasping’ ghetto house.
To be fair, DJs may struggle to utilise the shortest parts, but the slightly longer nuggets do lend themselves to the ‘floor, as with the jabbin’ hotstepper Moscow Girls and the fuzzy, low-down funk of Butterflies. But ultimately it’s best consumed in one sitting, preferably whilst Hangin’ At The Beach or at least in front of your computer with an exotic screensaver.