A beautiful, then-and-now document of banging Japanese folk traditions featuring one side recorded in 1982, and the same pieces performed in 2017, recorded and mixed by Sugai Ken, whose recent LPs for RVNG Intl are a farther, electronic extension of Japanese tradition
“EM Records is proud to present, following “Yumi Kagura” the second edition of the Japanese folklore music series, directed by Riyo Mountains. Japan has a long tradition of annual pre-harvest summer dance festivals, known as Bon-Odori festivals, which continues to this day. One of the longest-running of these festivals is the Sakai Ishinage Odori festival, taking place in Sakai town, Saitama, north of Tokyo.
Unlike some festivals which function as tourist attractions for domestic and international visitors, this festival is resolutely local, with no professional performers, the music being passed down from generation to generation, played by local men and woman ranging in age from elementary school students to senior citizens. With percussion, massed flutes and vocals, this is a vital, living music, a sort of minimal disco born in the rice fields, agricultural “industrial” music, low-tech hard techno. Available on CD and vinyl, this release features 1982 recordings, plus 2017 versions of the same pieces recorded and mixed by Sugai Ken.”
Pye Corner Audio brings his wood-fired analogue sound to Lapsus Records after touring the houses of Mondo Tees, Polytechnic Youth, Analogical Force and More Than Human already in a productive 2017 cycle.
In a smart play of contrasts, we hear much-loved and lesser-heard sides of PCA’s sound in Where Things Are Hollow. The supple, rolling arpeggios and acid tweaks of Resist, and his wobbly, chromatic cosmic chugger Northern Safety Route both bear the hallmarks of Martin Jenkins’ signature dancefloor romance.
However, fans should be very intrigued to hear him go beat-less and weightless in the other two parts. With Mainframe he conducts a stellar display of piquant bleep motifs and arcing choral pads converging into a gently distorted and dissonant harmonic smudge at the track’s peak, and Continental Drift seemingly operates on the opposite side of that wave with a sullen stir of low end swells and light pollution aurora reflecting the scale of the track title.
RVNG Intl parse Pauline Anna Strom’s incredible new age recordings on this collection of boundary-smudging synth journeys, containing material originally released between 1982 and 1988. They've spent almost a decade trying to bring this collection to life, kudos to them once again for compiling and conceiving it with so much care and attention to detail.
Drawn from seven obscure tape and vinyl releases made between 1982 and 1988, Trans-Millenia Music lives up to its mantle with a sense of ancient knowledge transposed into the contemporary future of the 1980s, realising a latent, transcendent sound that was perhaps just waiting for technology to catch up so it could speak freely.
Through the circuitry of pioneering synth tools, the blind composer and keyboardist from San Francisco feels out a spectrum of unfathomably celestial and synaesthetically-heightened sound colour along myriad, psychedelic vectors, haptically connecting diffuse spatial coordinates with a gossamer web of FX and morphing filter envelopes.
It’s music for oceanic introspection, beckoning listeners to fall deep inside themselves and diffract profound visions through their own lens, where you can interpret her descriptions of sonic flight in Crusing Altitude 36,000 Feet and In Flight Suspension, or decode the entheogenic synth voices of Mushroom Trip according to your own understanding of the cosmos and its play of energies, and draw your own meanings.
Gorgeous music, highly recommended if you're into Suzanne Ciani, Laurie Speigel or indeed Midori Takada.
Back in print for 1st time in years, Scott Walker’s starkly funereal Tilt is the first in a seminal trilogy of LPs which was completed with The Drift  and Bish Bosch . Upon its European release in 1995, Tilt, Walker’s 12th solo studio LP, was also his first release in eleven years, and found the arch avant-pop songwriter pursuing the mix of industrial, rock and classical in Climate Of Hunter  much farther down the rabbit hole, achieving a distinguished sound which can easily be mistaken as electronic, but is remarkably, entirely acoustic, orchestral.
Few artists work is harder to get a grasp on than Scott Walker. From beginnings as a teen idol, then as frontman of ’60s pop trio The Walker Brothers, thru the subsequent, change of direction with Climate Of Hunter, and his modern avant-garde masterpieces, Walker’s oeuvre is practically unparalleled in its diversity, which requires some effort of behalf of the listener to really join all the dots.
However, the one constant theme throughout Walker’s recordings is that baritone vocal, alternately booming, crooning and lamenting depending the song, and giving life to his lyrics in the manner of some ancient, spellbinding bard relaying tales from the brink. It’s a voice that has unmistakably lived, and evokes life in the richest colours.
Of course, life would be nothing without contrast, and that’s where Walker’s genius really comes into play on Tilt, as a lone, detached presence echoing against backdrops ranging from the grandiose, panoramic, operatic and cinematic, mostly thanks to strings by London Sinfonietta, to moments of utter, stark despair and bellicose militancy, often in the space of a single song.
If you’ve ever been intrigued by Walker’s indomitable body of work, including collaborations with Sunn 0))) and song-writing credits for Bat For Lashes, we thoroughly recommend immersing in Tilt and following your nose into the abyss.
Gorgeous 2nd album from Glasgow’s Happy Meals, dispatched via the ever-tantalising Night School a few years on from the duo’s equally endearing debut, Apéro (2014). If you're into Young Marble Giants, Vazz, Antenna, Pram etc, you'll love this.
Fruit Juice can be broadly but cleanly divided in two parts; on the hand they effortlessly charm with slower, creamily kosmiche pop pieces such as Run Round, which sounds a little like Quarantine-era Laurel Halo gone minimal wave, and the woozy psychedelic spell-casting of Fruit Float, which could be imagined as Julia Holter meets Iasos; whilst on the other hand they excel at a smartly pop-wise late ‘80s house and synth-pop style, marking up delicious gallic acid pop in If You Want Me Now and the Deux-styled Suivez Moi, and a real standout portion of mind-bending metallic techno-dub-pop in Now That You Have Me.
Tresor’s 300th release is a 15 track anthology of the Scopex label, a hugely coveted late ‘90s UK electro imprint whose releases by Simulant and Pollon now fetch triple figures for 2nd hand copies. When this set was announced a few weeks back, we could practically hear the collective relief of a thousand night owl neeks hooting at the moon and salivating at the prospect of fresh vinyl editions of Simm City, Out OfEther, and Electratech, all newly remastered from DATs and included here inside.
Right up there next to classic Drexciyan Storms and the black secret technologies of Ultradyne in the pantheon of 3rd/4th wave electro, Scopex releases defined ’90s electro at its tightest and mercurial best with a blend of razor sharp production and concise, sci-fi vision that’s rarely been surpassed.
In chronological order, you’ll find diamond-cut new pressings of Simulant’s Simm City , which is perhaps most noted for its Stinson-esque strengths in New Machines and the rare charms of Musical Box, or the low-lying missile Wav. Form (Mix), before Out Of Ether  dispenses some of the nastiest electro-funk to come from the UK in Knife Edge and the clenched swing of Access Future Audio (Mix).
Pollon’s Electratech  follows to open the 3rd disc with the tense angles of Lost Souls, as deployed by Objekt on his Kern Vol.3 mix for Tresor, and also included in a banging alternate Mix beside the epic Lonely Planet, while the previously unreleased, slow-mo sci-fi electro grunge of Optimal Flow completes the set and sees the label to its final resting place in one piece.
Come git it!
Mississippi Records furnish a very necessary follow-up to Emahoy Tsegué-Mariam Guèbru’s Spielt Eigene Kompositionen with the eponymous Emahoy Tsegué-Mariam Guèbru including the remaining eleven pieces from her Éthiopiques 21: Piano Solo CD.
Beloved of almost anyone who has heard her meandering, rhythmically complex piano meditations, Emahoy’s music feels like she’s channelling gestures and sensations from another dimension, which probably makes sense when you consider that she was ordained a nun at age 19, before subsequently studying the sacred music of the Ethiopian Orthodox Church, and eventually fleeing to the Ethiopian Monastery of Jerusalem because of a conflict between her beliefs and the marxist regime of dictator Mengistu Haile Mariam.
There is no pretension or conceit to Emahoy’s style; it is beautifully vibrant yet melancholy, comparable with the most affective American Blues yet, still, far out on its own plane of musical perception.
One to cherish.
Veronica Vasicka and Karl O’Connor (Regis) unleash a handful of secret weapons as The Floor on Minimal Wave following their blink ‘n miss debut flexidisc 7" The Desire  for Downwards, and an outing with Oliver Ho’s Death & Leisure in summer 2017.
As The Floor, they enhance two mutual Minimal Wave favourites for the dance, firstly giving Five Times of Dust’s Computer Bank a prodding reboot, coolly accentuating the proto-techno potential of its driving mono-rhythm and cascading bleeps with lean, deadly effect, before returning attentions to Tara Cross & Unovidual’s Like I Am Comme Je Suis, highlighting its brittle jack beat, beaky synth pecks and shrill synths for bruxist effect.
If that wasn’t enough, the 12" also features two previously unreleased gems from the MW archive. A-side you’ll catch the steaming Armoured Car by Five Times of Dust’s Rob Lawrence in solo mode - think Warm Leatherette with an ultimate death wish - while Unovidual and Tara Cross’ Imponative cuts a darker instrumental swagger across the B-side.
2017 repress of Walhalla Records’ class 2nd volume of Underground Belgian Wave rarities, all making their vital first appearance on vinyl, mostly a generation after their original release on some of Belgium’s hardest-to-find tapes.
Volume 2 is perhaps bets known for including the nifty Berntholer rarity Toys, and also features some big highlights in the likes of Autumns’ slippery synth-pop bubbler Synthesise, and two bullets from almost-rans Tangible Joy, namely the rocket fuel of Move and the swirling disco jakbeat Some Say I’m Drunk (But I’m Only In Love), alongside Eliza Waut’s etheric beauty Summary Of All My Dreams.
If you’ve been following Minimal Wave, Dark Entries, Mannequin Records, or STROOM 〰 in recent years, you need to check this one ,too.
Four Tet and Jamie XX remixes of The XX, limited vinyl only.
Jamie xx gives On Hold an uptempo french-touch house remix. Four Tet reworks A Violent Noise with a tech-house canter ready for the big room gymkhana. Tally ho.
A superb work of recondite sonic fiction, Blade Jogger is the palpably clammy tale of an erstwhile Salford doorman with a taste for ‘SWENDAB’ - a new drug of potent psychotomimetic efficacy - set to a backdrop of Brexit bruxism. Conjured by author and artistic director of The White Hotel, Austin Collings (Renegade: The Lives at Tales of Mark E. Smith & The Myth Brilliant Summers), narrated by James Stannage, and set to a synthesised score by Bill Ryder-Jones (The Coral) and By The Sea. Think Anthony Burgess meets Savoy with sound by Martin Hannett in Delian mode. The White Hotel’s shadow looms large over proceedings. Jog on…
“The place is England: a horrible electronic slum. The time is 22 minutes and 11 seconds into the future. A new drug - SWENDAB - is doing the rounds, sending everybody round the bend - as per. And as ever, here in this ‘less-than-United-Kingdom’, the rain must fall continuously. (It’s a wonder we haven’t all rusted by now.)
Rebelling against the drudgery of his surroundings, trapped inside his own fragile psyche - with no map nor money - meet GAZ-15: ex-bouncer/ex-lover/full-time-fuck-up.
Tonight, like every other night, he will go AWOL, lost in ‘the hallways of always’ of another SWENDAB-binge, searching for a meaning he knows he will never find. All those memories leaking into the eternal drainpipe. What a monster he’s made of himself. Not quite human. Oh to be a clone of others.
Evoking the underbelly of urban life, along with an even darker and deeper spiritual dimension, this bleakly-comic and moving musical collaboration between writer Austin Collings (Renegade: The Lives & Tales of Mark E Smith & The Myth of Brilliant Summers) and By The Sea, is Blade Runner re-written and re-scored by two steam-punks waiting to see their Jobseekers’s contact, or Samuel Beckett’s Krapp’s Last Tape soundtracked by Delia Derbyshire, or simply War of the Words - a 22-minutes and 11 seconds ‘single’ that summons a feeling of medicated drift, of hearing beautiful sounds through some kind of filter, as time collapses in on itself.”
Redshape cuts rug with swaggering style via the razor cut but splashy drums and pendulous bass work of Blink
Strongly owing to an enduring passion for the hi-tek funk of original Chicago and Detroit house and techno, whereas the Blink (Tunnel Mix) is a dedication to the Tunnel Club in Paris, and works to a more linear, sexy sort of Franco-Teutonic darkness.
Mississippi Records make Marisa Anderson’s woozily enchanting instrumental solo guitar suite Traditional and Public Domain Songs available again on vinyl.
Packing two new pieces that were on the CD release but not the original LP, namely the Portland artist’s takes on Amazing Grace and Bread and Roses - a must for any followers of solo desert blues from Earth to Sun City Girls!
Despite the break, this album can be seen as a direct follow-on from his previous Drag City albums - most closely resembling 1997's Bad Timing given its lack of vocals and the continuous passages of steel-strung acoustic guitar-led arrangements.
This all adds up to a seriously exciting release; Jim's cycle of Drag City albums (this being the first not to take its name from successive Nicolas Roeg films - following that logic this one should have been called Castaway) is one of the most revered bodies of work in American alternative rock. As this latest addition to that canon starts up, one of the very first things to strike you is that the production and mixing are undertaken in a fashion that is (to say the least) highly unusual by today's standards.
Seldom do you hear so much dynamic breadth in a contemporary record; this is not one of those releases that's had every ounce of life compressed out of it, instead O'Rourke leaves the quiet parts quiet and the loud parts... marginally less quiet. This is an album that's made according to old-fashioned principles, presented with vintage levels of clarity and warmth that benefit from being turned up for full appreciation. A decent amount of cranking will reveal countless layers of instrumental threads, and according to the great man himself there are around two hundred tracks used up in the recording of The Visitor - and that's two hundred tracks he's played himself. Given the long break, it's easy to forget just how brilliant a musician O'Rourke is; his production skills (as demonstrated on records by Wilco, Sonic Youth, John Fahey and Joanna Newsom among many others) are well documented, but since 2001 it'd be all too easy to think of O'Rourke's musical output as being restricted to occasional drone pieces, or the odd film soundtrack here and there for pals like Werner Herzog and Olivier Assayas.
The Visitor is a comeback of heroic proportions however - an auditory feast featuring acres of guitars, immaculately pieced together percussion elements, and all kinds of subtle yet elaborate arrangements for strings, horns and keyboard instruments. John Mulvey really hit the nail on the head when he recently described this as "a kind of folk symphony, a heavenly realisation of modern composition rescored for Laurel Canyon habitués", and it certainly feels every bit as substantial and gratifying as that assessment alludes. Don't leave it so long next time, please Mr O'Rourke.
Drag City reissue O'Rourke's timeless fusion of Bossa-pop, folk, classic rock and jazz.
"Here's another few sides of long-ago and far-away Jim O'Rourke back on vinyl for the first time since way back. It's the 'Halfway To A Threeway' 12" back to set turntables a-spinnin'. Fans of his 'Eureka' and 'Insignificance' albums (not to mention Jim's tomfoolery as part of the Loose Fur band) will appreciate the analogue pressing of these four cuts of the pop music party-pooper combination of folk, classic rock, smooth jazz and a bit of the avant-garde to help communicate the twisted ways of the misanthrope that made Jim such a perennial int he fickle world of record sales.
A quick listen to the title track exposes our sweet soul-crusher as a lustful man-beast on the make. The song is a straight folk number. Straight, that is, until you listen through the haze of those 6 string overtones and chirpy harmony vocals to hear the true perversity of O'Rourke's fantasies. The whole record's a blast, and it hasn't really aged that much in the eleven-odd years since it first emerged."
He's alive!!! And can he sing! Could this be the world's first experimental MOR album? Nah, but time will tell whether or not it is the most supreme. Wackos of the world, take over.
Jim here creates his own personal brand of progressive pop music the likes of which have only ever been hinted at or nodded towards by past artists. From Bacharach to Fahey with several unpredictable trajectories in between....
Synkro diversifies his bonds into blue half step and downtempo modes on Hand In Hand
Sweetly exercising his signature melancholic touch between the pastoral flutes and half step sway of Vanishing Point, the slow-motion Chuck Person/0PN vibes of Hand In Hand for chromatic sunset washes, and Burial-esque senhsucht in red Sky.
Anthony Child (Surgeon) and Daniel Bean (Spiritland) generate gusty electronic folk drones resonating somewhere between La Monte Young and Coil...
“The title of the debut lp from The Transcendence Orchestra outlines the modus operandi of this pairing of Anthony Child and Daniel Bean. Recorded in a remote English rural setting over a period of 24 hours this is an apt location for a recording that eschews time and space in favour of methodological displacement and deep psychological navigation.
Modern Methods For Ancient Rituals is an experiment in acoustic and synthetic symbiosis which is deeply influenced by the atmosphere and acoustics of the rural location of Cats Abbey resulting in a set of recordings which can aid to the transformation of consciousness. Deploying a range of ancient and modern instruments and effects including Buchla Music Easel, harmonium, shruti box, bass guitar, hurdy gurdy, Electro Harmonix 45000, Strymon Blue Sky and Roland RE 101 Space Echo among others, Child and Bean conjure an audio experience which encapsulates elements of drone, trance, pulse, rhythm and melody subtly shifting all into a psychologically penetrating experience beyond the aesthetic and into the comforting unknown.
Written and recorded at Cats Abbey in November 2016 by Anthony Child and Daniel Bean.
Anthony and Daniel played the Buchla Music Easel, harmonium, shruti box, bass guitar, hurdy gurdy, symphonie, glockenspiel, hand bell, Electro Harmonix 45000, Strymon Blue Sky, Strymon DIG, and Roland RE 101 Space Echo.”
Bubbling up from the archive, a brilliantly warped, acidic and intoxicating décollage of soundsystem shrapnel rinsed thru the echo chamber. RIYL Tapes, Raymond Scott, Ennio Morricone, Horsepower Productions
“Shimmering hologram oases belie the bone-dry heat inna this ya ghost-bloodcl@$t-town; When tumbleweed beliefs pose as the only sign of life, it's time to step into Death's saloon; Bust down the dusty double-swinging doors even the Preacher-man dares not enter!
The Bartender has run out of liquor and listening; Sullied Doves have danced their last number; Lawmen, levelled and long-gone, litter the dance floor; Bodied outlaws doubled and draped over the bar. When the only exit is a horse-drawn hearse; Face to face with Death, who will shoot first!?!
Step into this rattlesnake-ridden realm! Dancehall Showdown is a crazy non-place world where 60’s Spaghetti Westerns, 70’s Library Synth Records and 90’s Golden Era Dancehall come together for a death-defying communion inna Yard! The old posse of SKRS and MX7 ride once again under the banner of their co-run label, ICS Library Records, off into the fringes of sound-based reality.
SKRS' OG Papa Coolbreeze reinforces their select palette, "This album is our reiteration of influences ranging from Spaghetti Western era Upsetters to Raymond Scott's Manhattan Research Inc. to early Horsepower Productions. Now the soundtrack we paint, however, is something entirely unique on its own". Simply put: there's NOTHING like it out there!
Full disclosure: this LP has been shelved for well over 3 years now with the sudden disappearance of Oklahoma's now-mythical Digitalis Recordings, who were set to release it hot on the heels of their 2012 SKRS debut LP, TheCallFromBelow. Since then, we've laboured to break more ground and lay several more keystones in the growing SKRS/ICS groundation-foundation in order to withstand its intensifying expanse and weight. Now that the ground has been prepared, we've decided to take Dancehall Showdown back into our own hands and give it the proper love and nurturing we had always intended for it.”
Never before pressed on vinyl, IBM 1401, A User's Manual, is one of Jóhann Jóhannsson’s most loved works. Released in 2006, the decade since its release has seen Jóhann establish himself as one of the most important composers in the World today, most notably scoring movies such as Arrival, Sicario and The Theory of Everything.
:Inspired by the work his father did in the sixties when chief maintenance engineer of one of Iceland’s first computers, Jóhann originally wrote IBM 1401, A User's Manual to accompany a dance piece by long-standing collaborator and friend, Erna Ómarsdóttir. For this album release, he rewrote it for a sixty-piece string orchestra, with a new final movement (built around a poem by Dorothy Parker) and incorporating both electronics, and reel-to-reel recordings made by his father and friends in 1971 of an enormous IBM 1401 mainframe computer singing the hymn Ísland Ögrum Skoriðby Sigvaldi Kaldalóns as it was being decommissioned.
The first ever pressing of IBM 1401, A User's Manual comes in a deluxe gatefold sleeve, having been reworked by Chris Bigg (v23) from his original design. Pressed on clear vinyl, two album tracks recorded in 2010 with the City of Prague Philharmonic Orchestra at the Rudolfinum, Dvorák Hall in Prague have also been added and are exclusive to this release:
One of techno’s most prominent prism pushers follows work on Fever Ray’s 'Plunge' album to open 2018 with the masterful machine control of 'The 3D Printed Songbook', dispatched thru his Stockholm-based personal imprint.
In his highly personalised style of Scandinavian techno dub pressure, Mannerfelt pursues a signature blend of raved-up smarts with cutting-edge sound design into ever more curious, densely packed but spacious gestures on The 3D Printed Songbook by getting ever closer to grips with his elemental electronic material.
Where so much techno can feel like the work of a bored neek pushing blocks on a screen or effectively doing a colouring-in book, Mannerfelt is a sculptor who has picked techno and pure, abstract electronics as his medium, manifesting a sound which works just as well for those who appreciate the tactile sensuality of manipulated noise, as those who love dancing to irregular, warped rhythms and sensational tones.
Here, Mannerfelt blurs those distinctions and contradictions beautifully well, getting into gear with a pendulous but stuttering, sleek and jagged deep house/dancehall curl to open, before circling thru recoiling slow techno, heavy-lidded yet visceral ambient tones, to stripes of viking acid jack and the kind of depth charge dub techno that keeps Mika Vainio’s memory in earshot while unafraid to steer into new terrain.
Trevor Jackson reveals hitherto unheard ambient aspects of his hip hop/breakbeat alias The Underdog with Y.O.U, his “lost” album as FROM, produced over 1994-1997 and initially intended for release between his production for UK hip hop crew The Brotherhood’s Elementalz  LP, and the debut Playgroup album in 2001.
New to the BEB fold, тпсб premieres a rugged deviation of his techno sound on Sekundenschlaf, leaving 4/4 in the rear-view to focus on earthier, grubbing percussion warped into jungle and footwork styles, clad in fetid atmospheres. RIYL Rezzett, Ossia, Buttechno
“Sleep-deprived, breakbeat-driven vignettes of unclear authorship, from somewhere west of Lake Lagoda, near the Russia-Finland border.
Sekundenschlaf has significant points of correspondence with contemporary European electronic music, as well as the golden age of (early) jungle and ambient techno. But its response to tradition, and to the zeitgeist, is idiosyncratic to say the least – with an atmosphere and psychogeography rooted in the tranquility and majesty of Western Russian nature, and the anxiety and distress of the country’s post-Soviet working class.
Pastoral calm meets dissonance and unease. The music has a loose, improvised feel, but its arrangements are intricate, its melodies iridescent: cascading arpeggios that stir a sense of optimism and renewal, sighing string-pads that evoke the deepest melancholy. Rhythms simultaneously hyped-up and burned-out, collapsing in on themselves as they race to destinations unknown. All bound together with field recordings of eavesdropped conversations, blurred into abstraction, a droning subliminal menace.”
BleeD’s yung American signings Archivist & Fugal coolly furnish the label with its strongest release yet in Undertow, rotating three tracks of menacing, entrancing deep techno backed by a steely Acronym remix.
Hailing from Seattle via Berlin, the pair have previously dispensed 12”s on secondnature and Seattle’s Medical Records en route to the Undertow 12”, which stretches out from sleek, gothic trance techno recalling an icier take on Prurient’s Through The Window on Being And Nothingness, to the drier big room boom and aqueous chords of Far Horizon, which also appears in a tunnelling Acronym remix, before passing out into the Milton Bradley-esque acidic modulations and steepled reverbs of Undertow.
Oooshh! this strange, funky devil is a rare-as-owt gospel soul oddity from Detroit circa f**k knows (maybe late ’70s?), now newly dug out and dusted down as Jazzman’s 26th Holy Grail release. If those quizzical faces or masked dude on the cover haven’t piqued your interest, the music surely will
“Known in the record-collecting world as an incredibly rare album with just a handful of known copies, Jazzman Records present for the first time the full-length album reissue of the Two Sisters From Bagdad album as performed by LaVice & Co.. Originally intended to be sold alongside performances of LaVice Hendrick’s ambitious but ill-fated musical theater production, the album’s scarcity was swiftly ensured as Two Sisters From Bagdad ran for just two weeks at Detroit’s Bethel A.M.E. church amid poor attendances due to scant promotion. With only a handful of copies sold in that brief window, many of the remaining copies were subsequently destroyed in a basement flood, meaning that until now few people have ever heard the album in its entirety.
A varied set of jazz and gospel infused funky soul, Two Sisters From Bagdad was composed and orchestrated by two precocious young talents, E.J. Garrison and Rhodia McAdoo. It’s an album full of surprises, and is notorious for the heavy funk workout Though’s Were The Days. Not only have Jazzman Records unearthed and faithfully reissued this true obscurity as the 26th part of their ongoing “Holy Grail” series, but through interviews with Garrison and McAdoo themselves, they have uncovered the beguiling back story to the music, the play and the life and times of its original creator, the late LaVice Hendricks. As always the detail is revealed for the first time in Jazzman Records’ extensive new sleeve notes.”
MAGMA, one of the most influential of all French bands, compiled on this epic box set.
"The first ten years of MAGMA were celebrated on three memorable evenings in June 1980 at the Olympia theatre in Paris. This retrospective, reuniting most of the musicians who had performed in the group, was issued as two albums; the Retrospektïẁ I & II double-LP and Retrospektïẁ III LP. Issued first, Retrospektïẁ III comprises three titles. "Retrovision" is a long piece in the style of the album Attahk, in which the vocalists Stella Vander, Guy Khalifa, and Maria Popkiewicz turn in a blazing performance over a driving rhythm section. There is a supercharged version of "Hhai," in which the trio of Lockwood, Paganotti, and Widemann works miracles. And finally, "La Dawotsin," where, in a more muted register, the voice of Christian Vander triumphs through its mastery and profound sensibility.
Recorded, like Retrospektïẁ III, during the soirees at Olympia in June 1980, Retrospektïẁ I & II is an absolutely fundamental album in which "Theusz Hamtaahk" -- the first movement of the trilogy of the same name -- is presented for the first time. The second and third movements, "Wurdah Itah" and "Mekanik Destruktiw Komandoh," were of course already well known. Although played in concert since 1974, Christian Vander had waited for years before recording it for posterity as he wanted every note to be as beautiful, magical, essential and definitive as possible. It is with the same respect for his music that he releases here the most successful version of "Mekanik Destruktiw Komandoh," considered outstanding on account of two incredible improvisation from Bernard Paganotti and Didier Lockwood. Klaus Blasquiz, who did not perform on Retrospektïẁ III, is the lead vocalist on this version - and justifiably so, since he was indeed the MAGMA singer who first sang these two masterworks.
There's no doubt about it, MAGMA has left a legacy of music that defies any of the standard and convenient classifications of rock, operating instead in a realm of their own creation. Southern Lord looks forward to being part of their ever-evolving story…"
Zov Zov is the alias for Oliver Ho’s most phantasmagoric, esoteric, invocational sounds and vibes. Since his Ruin Lust 10” for Shifted’s Mira label in 2013, the Zov Zov alias has run concurrent to Ho’s usual techno output and other action as Broken English Club, while this LP also introduces his Desert Burials alter ego on a bonus 7”.
In Fata Morgana he pushes off into the depths of his imagination with a free-roaming style that vacillates gamelan clangour on Casting with more bass-driven, sloshy swag ’n drone in From The Ashes, plus Cut Hands-esque percussive terror on Burning, and a wicked slice of Muslimguaze-style drums and ‘tronics nodding to middle eastern traditions in The Sands.
On the 7” he introduces Desert Burials with the serpentine post-punk dub Cages, and a starker percussive ritual called Clonk reminding of Bourbonese Qualk. We’re not too sure why he’s separated the projects like this, they sound so similar, but whatever, fans of Demdike Stare, Shackleton, Cut Hands will get a good kick outta this package.
A marriage made in dub house heaven, the Accumulate EP is 1st in a series of collaborations between Fluxion and Rod Modell aka Deepchord, to be released via the former’s Vibrant Music label.
Converging from subtle differing yet wholly compatible angles, Deepchord & Fluxion’s Transformations duo explore an elegantly widescreen sound that sounds familiar, yet remarkably altered and uncharted in either artist catalogue.
Layered from fathomless bass pads and swooning string figures, Accumulate runs to just shy of 25 minutes across the two sides, with the 13 minute Pt.1 subliminally flowing and expanding across into Pt.2 in such a lush, hypnotic manner that you’ll almost be irked at having to get up and flip the disc, but then you’ll just flop back and restart the zoot and ride out into its diaphanous, dusky sunset.
An absolute winner from the SKRS INTL camp for Ancient Monarchy, the Paradise Magic Traxx Mobile Sound & Lighting EP arrives in the wake of their RunComeTest EP with a wicked, red-eyed smudge of digi-dub dancehall on a Lovers Rock and R&B slant.
Coagulating some 30 years of sound system styles from the Island in a seamless flow of sawn-off samples and plasmic FX on sloshing subs, the enigmatic Filipino/Canadian project gives up some of the most stickily seductive gear in their decade long catalogue.
Perhaps tricky for the DJs, but great for home listening and parties, the EP is sequenced in untrammelled transitions between its eight parts, but you probably wouldn’t even realise without looking at the track list online. Of course, DJs can use their ears and eyes to pick parts out, but it’s best consumed as a whole, preferably with a 21 minute long zoot and good company.
Not a band who ever do things by halves, this opus from Stars Of The Lid is a mammoth three disc set and is sublime for the entire duration.
You see, although some might level that Adam Wiltzie and Brian McBride have really stuck to the same style since their inception, they have been moving steadily forward with each release and have gone from whispering post-shoegaze guitar drones to something altogether more grandiose.
It would be crass to describe the music as cinematic, but the first thing that strikes me about "And their Refinement of the Decline' is its similarity to the work of Zbigniew Preisner and specifically his work with film director Krzysztof Kieslowski. Stars of the Lid share Preisner's (and Kieslowski's) sense of restraint, minimalism and stark beauty without resorting to sentimentalism. What we have here is beautiful music in its rawest form - horns, strings and that haunting reverb-drenched guitar all perfectly placed and allowed time to breathe. Nothing here is rushed, you hear passages rise and fall gloriously, sounds make an entrance and slowly disappear and nothing ever dares to outstay its welcome.
Arvo Part, Gavin Bryars or Brian Eno would all be more than appropriate comparisons for this stunning collection of work, but Stars of the Lid are almost at the point where they defy comparison altogether. Of course they have introduced further, more overtly 'classical' elements into their mix but the music they are making is quite uniquely their own - they are one of those rare bands that has absolutely defined a sound. What we are hearing is frankly two musicians who are at the top of their game, sharing their carefully measured view of the world with us and allowing us a peek into musical perfection - and you really can't ask for anything more than that.
Marking 20 years of Prurient and Hospital Productions’ concurrent paths, the epic 3 hr 20 minutes of Rainbow Mirror inarguably ranks among Prurient’s most compelling statements. While still the blood child of Dominick Fernow, the album’s massive scope demanded more hands on board, with Jim Mroz (Lussuria) and Matt Folden (Dual Action) lending their expertise before post-production by Shifted and mastering by Paul Corley cemented this towering work of Doom Electronics for the ages.
Offered up as ‘a portrait in perpetual tension’, and housed in cover art created as the first collage in the pre-recording era of Prurient, Rainbow Mirror draws on the project’s roots in order to locate itself in the modern day. What it finds in the process is that little has changed since Prurient and Hospital Productions’ conception in ’97 - the world is still a torrid, evil mess beyond control, and one that needs notions like Prurient to try and define its heaving mass more than ever.
Like Frozen Niagara Falls before it, echoes of the old world riddle the long, stark corridors of Rainbow Mirror, too. But here those echoes are more fragmented, distant and entropically obfuscated, emulating the effect of trying to find your own image in a hall of mirrors, or locating yourself drowning amid the clamour of more than 3 billion other people online, all saying the same, mundane shit at the same time.
With a length and intensity proportionately reflective of the world’s increasing socio-political tension and rate of homogeneity, Rainbow Mirror holds firm as a space to immolate the senses in preparation for the ever nearing eschaton.
Leading on from a highly memorable debut collaboration, Crys Cole and Oren Ambarchi invite us farther into their shared world with Hotel Record, a poetic four-part suite of touchingly intimate and romantic themes framed in a surreally unique, aleatoric sound world, just as you’d be warranted to expect from this pair of esteemed sonic alchemists.
Recorded between Ko Pha Ngan, Thailand; Oakland, USA; Melbourne, Australia, and at EMS, Stockholm, Sweden, the sense of heavy-lidded intimacy is similar to Sonja Henies Vei 31, but found in a multiplicity of recording spaces and situations, each with their own subtle identity and appeal, and all generated from a broader palette of instrumentation and electronic production techniques.
The chorus of cicadas, scooter engines and croaking frogs in Pad Phet Gob is clearly located to nighttime in Thailand, but the rest are anyone’s guess. It’s better to just let yourself melt into their exquisite designs, such as the silky web of vocoder whispers and languorous subbass contained in Burrata, or likewise become absorbed in the gentle harmonic cadence of breathing organs tones and mottled, glossolalic murmurs in Call Myself, which ambiguously could be a sort of ASMR exercise, an encrypted document of phone sex or pillow talk, or something entirely else, all depending your disposition.
It all adds up to a patently more accessible, dreamy follow-up to their first LP together, and quite easily one of the most quietly seductive records you’ll hear from the abstract, ambient, electro-acoustic sphere this year - strongly tipped to fans of Félicia Atkinson’s Hand In Hand, Kassel Jaeger & Jim O’Rourke’s Wakes On Cerulean, or the new Teresa Winter side.
One of Berceuse Heroique’s most reliable troopers plays into a deeper vein of bass-driven techno-house for the stalwart underground label after deposits made with Hemlock, Peder Mannerfelt Productions, Clone Basement and Livity Sound in just the last 12 months alone.
In Hodge’s now signature style of gritty groove control, he tees off with the furtive bleep techno rolige of Beneath Two Moons, reinforced 1990-style bleeps with muscular bass until a steaming siren/train sound shifts it up a gear to hypnotic drones and flying hi-hats ready for the Dj to mix out.
On the other hand, There Is A Storm Coming In lives up to its title with a tense, brooding display of industrial EBM influences, and Don’t Hold Your Breath tucks the vibe somewhere to the left of Levon Vincent and the right of Call Super with raw but classy strings and heaving subbass, before the beatless All Is Not Lost fades to close.
Slimzee’s OG grime label boomerangs back with badness from pivotal new wave player Boylan.
They’re both fucking lethal, riding big and bashy with search ’n destroy mentasms, hulking great subs and unflinchingly upfront sound design of Overlook, then trimming back to a molasses half step with the radioactive mid-range waves and Hermann-Esgque strings terror on They Mostly Come At Night.
Gully gang. It’s yours.
Invada present the soundtrack to Stranger Things 2, produced by S U R V I V E’s Kyle Dixon and Michael Stein.
Expect plenty shlocky ‘80s FM synth cues and themes bound to yank your nostalgia nozzle.
None-more-vital East African label Nyege Nyege Tapes present Otim Alpha’s melodic electro Acholi bangers on vinyl for the 1st time, following that blazing, acclaimed Sounds of Sisso compilation!
Alpha’s debut international release Gulu City Anthems features 11 songs written and recorded between 2004 and 2015 in Northern Uganda and ranges from hi-velocity bangers to more romantic mid-tempo swagger, all serving a totally infectious showcase of his plugged-in take on traditional Larakaraka wedding music that’s bound to get a lot of listeners itching for a +1 invite to one of his ceremonial sessions (crashing is always an option, too!).
Working with producer Leo Palayeng, Otim essentially computerises Acholi wedding music, weaving its traditional, see-sawing folk fiddles and call-and-response vocals with stripped, pounding drum machine polyrhythms in a sort of hypnotic, minimalist delirium. For the most part, it’s properly uptempo, with some searing highlights in the likes of his wickedly off-kilter jig Kodi Pa Barikiya (Kwan), the jabbing clash of almost cajun-style rapidfire riffs and turbo-charged toms in Toni G, or the Detroit/Chicago ghetto-compatible bang of Too Wiye Ming-Alphazo. But there’s also one super-charming piece called Agiki Ne Tye which works at a relatively leisurely 120bpm with strolling bass and bright, joyful chord cadence, presumably intended to allow the party a sweet breather.
Following Alpha’s recent, stellar introductory live show at Unsound ’17, this collection is set to impress his sound to eager ears beyond Uganda and the East African scene, and is surely destined to be lodged in record collections somewhere between your Shangaan, Konono No.1 and Caribbean soca faves - in other words; your party-starting section...
South London soundman Parris stacks up four signature cuts of low key, crackly, sub-heavy vibes on his subtly probing debut with The Trilogy Tapes after really coming into his own over the past few years via 12”s for Ancient Monarchy, Idle Hands, and Hemlock, plus the ace TX280916 / TX111116 mix for Keysound.
The 2 Vultures EP catches Parris at his idiosyncratic best, hustling an early hours-of-the-dance feel that works beautifully well at setting mutable, plasmic pressure for heavier things to come, or just as well for eazing off in the comfort of your own space.
EP opener Lionel’s Dub is one the most orthodox, classically-rooted dubs we’ve heard from the guy, something like a dusty echo of Adrian Sherwood at his most red-eyed, whereas Hot-Blooded gets down to some Farben-esque micro-house with added steppers bass pressure. 2 Vultures then follows a masseur path into melting, brittle dub architecture, leavened by genteel jazz touches, and Hanging With The Birds can’t fail to leave you beaming its feathered confection of bird calls, bobbling bass and Mario power ups.
Snotty punk slingshots from Sheffield’s Nachthexen - who emerge from the same quarters as Blood Sport with a compatible style of stomping drums pebble-dashed with looping guitars and synths
Offset by authentically late ‘70s-sounding punk vocals. Sounds like your mate’s mates’ band when you were 15, which perhaps explains the Seaford Mods support slots. Not a sausage between them, either.
IDIB serve a belated, expanded 10th anniversary reissue of Chromatics’ Nite, including the title cut and instrumental backed with three new cinematic themes and cues.
Yet another pearl in Johnny Jewel’s velvet lined cabinet, Nite is a buttoned-up, shine-eyed disco ace pairing Lena Okazaki’s droll vocal over stealthy disco bass, eventually turning into a proper piece of post-punk disco delirium, ditto the instrumental but sans vocal, while Glass Slipper catches a slick fusion of Arabian Prince-style vocoder and Moroder-like bass arp.
The new cuts are ace, too. Birds Of Prey is a darkly evoctive instrumental vignette, whereas the heavy-lidded vox and spindly synths ’n strings of Sleepwalker wouldn’t sound out of place in a classic ‘80s horror, and the melancholy dream-pop of City Beds comes off like the accompaniment to some tear jerking break-up scene or loveless bed-hopping montage - take your pick.
Lakker’s Eomac gives it some swagger on the 1st 10” from Bedouin Records’ Bastikaya Tapes.
With One Spirit he trades in a sort of itchy, abraded 2-step techno alloyed with whirligig folk melody.
On Observe The Vessel Beneath You he reshapes that template to a scratchier swang embedded in etheric atmospheres, perhaps imagining Burial lost a souk after-hours.
Tia Maria Produções member DJ Lycox goes solo in a big way with debut album Sonhos & Pesadelos for the resoundingly influential Príncipe label.
With the delicious swerve and layered lushness of Sonhos & Pesadelos, the debut album by Príncipe’s Parisian ambassador DJ Lycox, sets a new high water mark for the label and its collective sound.
Indulging a bank of fleshly synths more than many of his label mates and peers, but at no sacrifice to his rhythmic push and pull, the sound is practically compatible with deep house and UKF as much as the frenetic styles of Nidia Minaj or the tuffness of DJ Marfox, for example.
Across all 12 tracks he modulates the vibe with expert groove control, oscillating between hypnotic future folk lixx and infectiously knotted drums in Weekend to a debonaire spin on deep house swagger with Domingo Abeçoado or Solteiro, skipping from the blazing tropical heat of Virgin Island and Paragons Moh Baba to something you could almost imagine Marcus Nasty playing on Nichako, Sky or the steely reinforcement of La Java.
But if you’re looking for out ’n out raving madness, you’d best check the blinding shockout Quarteto Fantástico and the searing hard-style leads of Ferrero for the most upfront bangers.
22 years since Pygmalion and the band’s dissolution, Slowdive swoon back into earshot with Slowdive. With hearts bleeding all over their sleeves, Slowdive captures the sound of the band at their sunny best, with a renewed optimism and timeless dreaminess to fall right into.
““It felt like we were in a movie that had a totally implausible ending...”
Slowdive’s second act as a live blockbuster has already been rapturously received around the world. Highlights thus far include a festival-conquering, sea-of-devotees Primavera Sound performance, of which Pitchfork noted: “The beauty of their crystalline sound is almost hard to believe, every note in its perfect place.” “It was just nice to realise that there was a decent amount of interest in it,” says principal songwriter Neil Halstead. The UK shoegaze pioneers have now channelled such seemingly impossible belief into a fourth studio opus which belies his characteristic modesty. Self-titled with quiet confidence, Slowdive’s stargazing alchemy is set to further entrance the faithful while beguiling a legion of fresh ears.
Deftly swerving what co-vocalist/guitarist Rachel Goswell terms “a trip down memory lane”, these eight new tracks are simultaneously expansive and the sonic pathfinders’ most direct material to date. Birthed at the band’s talismanic Oxfordshire haunt The Courtyard – “It felt like home,” enthuses guitarist Christian Savill – their diamantine melodies were mixed to a suitably hypnotic sheen at Los Angeles’ famed Sunset Sound facility by Chris Coady (perhaps best known for his work with Beach House, one of countless contemporary acts to have followed in Slowdive’s wake). “It’s poppier than I thought it was going to be,” notes Halstead, who was the primary architect of 1995‘s previous full-length transmission Pygmalion. This time out the group dynamic was all-important. “When you’re in a band and you do three records, there’s a continuous flow and a development. For us, that flow re-started with us playing live again and that has continued into the record.”
Drummer and loop conductor Simon Scott enhanced the likes of ‘Slomo’ and ‘Falling Ashes’ with abstract textures conjured via his laptop’s signal processing software. A fecund period of experimentation with “40-minute iPhone jams” allowed the unit to then amplify the core of their chemistry. “Neil is such a gifted songwriter, so the songs won. He has these sparks of melodies, like ‘Sugar For The Pill’ and ‘Star Roving’, which are really special. But the new record still has a toe in that Pygmalion sound. In the future, things could get very interesting indeed.” This open-channel approach to creativity is reflected by Slowdive’s impressively wide field of influence, from indie-rock avatars to ambient voyagers – see the tribute album of cover versions released by Berlin electronic label Morr Music. As befits such evocative visionaries, you can also hear Slowdive through the silver screen: New Queer Cinema trailblazer Gregg Araki has featured them on the soundtracks to no less than four of his films.
“When I moved to America in 2008 I was working in an organic grocery store,” recalls Christian. “Kids started coming in and asking if it was true I had played in Slowdive. That’s when I started thinking, ‘OK, this is weird!’” Neil Halstead: “We were always ambitious. Not in terms of trying to sell records, but in terms of making interesting records. Maybe, if you try and make interesting records, they’re still interesting in a few years time. I don’t know where we’d have gone if we had carried straight on. Now we’ve picked up a different momentum. It’s intriguing to see where it goes next.” The world has finally caught up with Slowdive. This movie could run and run…”
An early entry for artwork of the year, Superstar & Star’s Mastermind EP catches the DIY boogie outsider, Neville jamming with his wife, Ann Lawrence on a 3rd release for Estonia’s Porridge Bullet, following the Tapes vs Superstar 7”, Spirit World in 2017.
The Mastermind EP features five cuts from the dead limited tape edition of Superstar & Star, plus three previously unreleased winners, all in the badass lo-fi style that made his Keep On Rocking 12” such a revelation.
A-side, he sounds like Muslimgauze gone boogie on the distorted blow-out Rolling So, beside what sounds like a Pantsula bomb a la Sandy B on Anywhere In The U.S Is a Party, and a killer Memphis strut on Kicking It At Home.
B-side, he juices the funk in No More Sorrow, along with the optimistic devotional I Aint Missing You, and a stroke of piano house pomp in I Am Dreaming featuring backing vox by Ann Lawrence.
Factory Benelux highlight Vini Reilly’s acclaimed fusions of guitars and electronics circa 1987’s The Guitar and Other Machines Deluxe with remastered expansion of the original LP including his Live At The Bottom Line New York and a bonus disc of Related Works including the rare, Italy-only Greetings 3 EP.
The Guitar and Other Machines Deluxe was produced by Stephen Street, who’s maybe best known as a longtime producer/co-writer for Morrissey, and also features Reilly’s longtime associates Bruce Mitchell and viola player John Metcalfe.
It was written in response to a christmas present of “a load of electronic instruments” from Tony Wilson to Vini Reilly, who remarked at the time “I never dreamt of getting into this electronic thing, and I struggled and fought and stayed up til half seven in the morning and really worked on it. I know that Tony’s got this vision and I persevered. And I found a way of using a sequencer that isn’t like New Order – it’s my way, and it’s my music."
The results make one of Reilly’s most precious recordings, with highlights cascading from the front with Arpeggiator, thru the meditative hash haze of Jongleur Grey, to elegant wonder such as English Landscape Tradition and particularly the three bonus tracks from original CD release, notably the pulsating 28 Oldham Street (location of the now-boarded-up Dry Bar) and the delicate mingle of acoustic and electronic tones in Catos con Guantes.
As if proving his workings out for the album, you can also hear many of the album tracks played on Live in New York 10/1986 plus later recordings made at WOMAD 1988, while the Related Works disc holds some real gems in the spine-freezing styles of Vini’s Greetings 3 EP, especially his guitar and viola duet with John Metcalfe, All That Love And Maths Can Do.
F*cking f*ck yes aye! Berceuse Heroique on a slow-mo/trance/new beat tip with Heap’s thumping addition to the dead handy Brasserie Heroique Edits series.
It’s going to do our heads in for weeks, months (or until someone tells us) but we can’t ID any of the OGs, which is always a good thing, but anyway you get a hulking great slug of early ‘90s acid trance screwed to a determined chug with External Error, then a badboy bit of breakbeat techno shunted to sleazy early new beat tempo in Possessed By The Drums, with the B-side’s Tripper cannily cut at 45rpm for a proper modagon lurch at 33rpm, or a wind tunnel trample on the correct speed.
Harbinger Sound immerse in the hypnotic avant-noise of Belgium’s Kanker Kommando with Low Tech 1982-88, collecting cuts from their 5 self-released tapes, plus previously unreleased material.
Originally a punk band, then a noise band, and soon enough incorporating avant-classical inspirations, the low tech-fetishists Jaak Perquy and Henk Willaerts trod their own path thru the no-man’s-land of noise in a way that evidently resonated with Harbinger Sound’s own sonic politics and conception of sound art. They prefer to structure themselves as an “albino amoeba”, a sort of single-celled organism, who relished the conceptual challenge of working with firmly established limitations - instruments, musical skills, recording-equipment - as a key conceit of the music.
Drawn from Loud Stereo .Eadphones  you’ll intercept the monotonous pulse of .Ead and something like alien morse code in Implosieve Kracht from their Naakt & Kwetsbaar  release. But the rest is all previous unheard, taking in the discomfortingly unheimlich, amniotic sensation of Slaapswandel; a Conet Project-like transmission of nursery rhyme melody and noise in Signal; and more blunted mechanical rhythms recalling NON/Robert Turman in Kwetsbaar, the locked-in mono rhythm Naakt, and what sounds like an EVP recording in the airborne oddity Count.
One of dubstep’s prime outliers comes into trippy focus with the psychedelic deviation of Dying On Acid featuring Rider Shafique for Mala’s Deep Medi Musik.
As the label has been steadily broadening its horizons over the last half decade and more, Gantz pushes the prism in his own way, mixing mutant structures and palettes with vocals in unexpected, inventive styles.
The dream-sequence strings and ghostly vocal of Elif Dikeç tumble thru a evaporating maze of digital delays and seasick rhythms on Fugazi, before Dedw8 jumps on a gnarled sort of hip hop/dubstep abstraction in Shivy recalling early ‘00s Anti-Pop Consortium, while Rider Shafique mans the industrial grind of Sharkeyes with an expressively rooted stream-of-consciousness.
Yet, the highlight is entirely instrumental, as Gantz cements and dissolves his outsider purview with a concatenated derangement of Autechrian rhythm and electronica melodies in a volatile, unpredictable style.
On its 10th anniversary, Italians Do It Better dial up Glass Candy’s I Always Say Yes for an expanded reissue, now packing no less than three new songs along with the original, dry-iced disco of the title cut and their cover of dark Day’s The Chameleon.
The extended original and chunkier Drumm Edit are chased by the crepuscular horror movie drill feels of Where Time Is Still on the front, backed with the Jean-Michel Jarre vibes of City Lights, their exquisite cover of Chameleon, and an unmissable cinematic synth panorama called Sanctuary.