John Roberts explores experimental jazz and electronic frameworks alongside Maxwell Sterling (double bass) and Peter Evans (trumpet) on Spill, in a style that crosses paths with work by Jon Hassell, Peter Zummo and Emptyset.
The follow-up to Plum finds NYC composer Roberts expanding and continuing that record’s experimental bent in three diverse parts. The first and best of those is a raucously unpredictable title track starring Maxwell Sterling on his first outing since the amazing Hollywood Medieval album, lending radioactive double bass vamps and doom strokes to a calamity of polymetric percussion, scrabbling electronics and extended trumpet tekkers by Peter Evans. If Arthur Russell and Emptyset made a track together, it may sound a bit like this.
On the B-side Roberts chills out. Working solo, he comes off shades away from Peter Boothroyd in the charmingly emotive weightless melodies of Wrecked, before Peter Evans pipes up again on Fluid, lighting up Roberts’ keening electronic dissonance with a range of sharp, smeared and spiralling trumpet gestures that share space with huge blasts of sculpted distortion, reminding in some ways of recent Dialect material.
June round up Svengalisghost, Bruce Roach, Manie Sans Délire, Zodiac Arts Club, Trenton Chase and R.R. Hearse & Furnace Miskin for the Greek label’s 2nd multi artist compilation.
It might be called Trap Configurations, but we assure you there’s not a single track related to it inside. Rather, all artists converge on a particularly slimy and swaggering EBM sound, turning up highlights in the swaggering torque of Svengalisghost’s Cyberdreams, on Bruce Roach’s distended slo-mo creeper Zoblin 07, and two classy EBM stings from Trenton Chase, firstly in the Manie Sans Délire drop with June on Static Control, and also solo on the pulse-quickening Hand Of God.
Tresor’s experimental commission from trans-atlantic techno pioneers Thomas Fehlmann and Terrence Dixon proves to be greater than the sum of its parts in the strongest way on We Take It From Here.
Both artists bring the very best out of each other on all six cuts, resulting a chimeric sound that neither could really claim as their own. They’re not reinventing the wheel, but they are doing some really crafty things with the inter-dimensional shifts between tribal patterns, zig-zagging acid and jazz chords in Dreaming Of Packard, while Experiment 3 comes off like a proper Jamal Moss trip, The Corner works out a belting sort of Detroit techno-meets-Italo disco groove, and Landline sees them cut the anchor and drift out into deepest synth space.
Finders Keepers fork out two previously un-pressed gems by Martin Hannett (Joy Division, ESG) and Steve Hopkins a.k.a. The Invisible Girls - a grooving sci-fi soundtrack piece and a perkier, chuffed-up Manchester pop instrumental
“From the shrapnel of the unlikely collision point where Mancunian post-punk royalty collides with sci-fi cinema and art house animation, this obscure diamond in the rough shines a new light on the Northern DIY era providing disc detectives with a whole new punk funk perspective. Recorded in 1976 by Invisible Girls’ Steve Hopkins and Martin Hannett for a truly bizarre stop-motion animation called All Sorts OF Heroes, this hard edged funk instrumental theme reveals another side to this versatile production team joining the hidden dots between Hannett’s own discoid experiments with ESG, Gyro, A Certain Ratio and the mythical Afro Express recordings from the same year.
Embodying as much in common with 1970’s bass heavy European funk soundtracks by bands like Goblin and Placebo, as the expected parallels with John-Cooper Clarke’s backing tracks or early Happy Mondays, this early 1976 session is the perfect example of Hannett and Hopkins’ under-the-radar artistic commissions working to a storyboard brief in what has now become recognised as a fertile arena for lost lmic funk.
Drawing historic parallels with Leeds-based Graeme Miller and Steve Shill’s home recorded DIY soundtracks for The Moomins animation and accentuating the connection between Manchester based animation house Cosgrove Hall (Dangermouse/Chorlton And The Wheelies) and its employees Bernard Sumner, John Squire and members of Gerry And The Holograms, this lost recording adds kudos to a quirky micro-niche and reveals another dimension to Northern anti- pop’s snarky personality.
Pressed here by Finders Keepers for the first time on vinyl, in close accordance with the wishes of Steve Hopkins himself, this custom-composed track originally appeared on the short lm by Rick Megginson and Steve Hughes which was shown at the Ottawa International Animation Festival in 1976 where it might have otherwise remained, preserved in an 8mm lm box up until now. As relevant today as it was then, this closely recorded, cosmic cartoon, slappy funk theme provided the films backdrop for a workshop montage scene where an aardvarkian spaceman constructs a giant metal face robot which might well leave fans of Madlib and MF Doom fans pondering time travel?! Like much of the lost and unreleased projects that stalled on the peripheries of early proto-Madchester, including the disco-pogo music of Spider King, Gerry And The Holograms, The 48 Chairs, Naf and The Mothmen, this record has been frozen in time waiting for the wider marathon of independent pop to catch up!
Presented here faithful the 45 format of choice, this 7” might well be another missing link between your Rabid, Absurd and Factory records, backed with another lesser- known Invisible girls recording Scandinavian Wastes which has also been begging for its first vinyl outing since its recording in the early 1980’s. Another historical bucket list release for Finders Keepers Records outernational discography, leaving zero stones unturned, even the ones under our own doorstep.”
This is absolutely belter: a genuinely never-before-heard collection of punk-funk oddballs by Stretchmarks, the short-lived but dead good Manchester band fronted by Matt Wand and Rex Casswell of plunderphonic pioneers Stock, Hausen & Walkman and fuelled by a rhythm section with previous form for both Nico and Blue Orchids. It’s the kinda stuff Manc-y wet dreams are made of - funky as f*ck, feral and devilishly effective, and totally set to light up a lot of grins on those familiar with Mancunia c.1989-1991 as much as classic Material, Pere Ubu, ACR, ESG.
Pulled together from live recordings of shows at The Millstone, basement sessions down in Withington, and from various rehearsal sessions in rooms across the city, The Stretch m-ARKhives contains the best of this bunch’s efforts during the period that everyone putatively associates with baggy kids and ecstasy pipes. Basically, Stretchmarks were a sort of antithesis to what they called “the ‘baggy plague”, and it’s fair to say with hindsight that their live-wire mix of funk chops, punkish vocals and electronic blatz succeeded in creating an excellent alternative to the usual suspects. Only thing was, at the time, only a few people gave a flying fxck about Stretchmarks and they never made a proper record to prove their anti-thesis.
Fast forward nearly 30 years to now, and, by all rights, Stretchmarks should find their audience in a scene that’s been primed to tell wave goods from wave bads after a decade absorbing YouTube rips, blog posts and a deluge of reissues. Hence it should be easy to detect their flashes of devious genius inside, from the mad mix of upclose whisper and distant holler on the roiling Puddle Of Love, thru to the nipped Afrobeat-punk meter of All The Same, the free jazz mind splash of No Way, and the helpless madness of Let’s Get Weird with its bestial grunts and instantly memorable lyrics intoning “let’s get weird/you and me/in my kidney shaped swimming pooooool.”
Ultimately, The Stretch m-ARKhives is yet another example of how history always favours the winners, in this case The Cranky Tuesdays and The Bony Losers, at the expense of the interesting crud that happened beyond the sight of scenesters and there mainstream, of which this LP is a perfect example.
Lush, reticulated reggaeton, deep house and breakbeat fusions from man o’ many monikers, Brian Piñeyro (Deejay Xanax, DJ Wey, Luis) as DJ Python, following the sterling example of his ¡Estéreo Bomba! Vol. 1 for Antony Naples’ Proibito with an immersive expansion of that sound in Dulce Compañia.
Taking reggaeton along new, instrumental routes intersecting NYC’s rave history, DJ Python has pretty much cooked up his own style of deep reggaeton, a title which should probably be taken with a pinch of salt, but serves well to identify his angle amidst an upswell of LatinX producers who are spinning dembow beats and tropes into all kinds of new spaces - from DJ/Rupture and co, to Florentino and Kelman Duran, for example.
Almost as close to the sound of Ben Cenac’s Dream II Science, new age experiments from Laraaji, or even Andy Stott as any of the above, Dulce Compaña finds Python alloying reggaeton’s nagging, signature bump with chiming electronic meditations in Las Palmas, and with squashed jungle breaks in the style of his Deejay Xanax alias on Cuál, both setting the innovative, deviant agenda for the rest of the set, recoiling from eyes-shut ambient rave infusions on Todo Era Azul (Version Afuera) and its cosmic Siempre Dub, to something like B12 on holiday in Caracas with q.e.p.d, but also making room for more rugged swerve in Acostados and the acidic tang of Yo Ran(Do).
But if any one track is going to melt your pants off, it’s the plasmic, aerial ambient shuffle of Esteban, which provides the sweetest window on Piñeyro’s unique Python sound, and everyone will know what to do next.
Some make-your-own-pizza business from Fxck Punk aka APE (Vessel) and Chester Giles paying dues to their local 24-hour Asda (Walmart for Americans) in Bedminster, Bristol.
Obfuscated yet direct-to-the-dome, the session combines off-the-nut poetry from Giles with some of Vessel's most burned and turnt production. Bowling red-eyed and lo-fi from industrially reclaimed grime, 'Spud-U-Like' to mucky pockets of stress-testing noise and lyrics about sniffing glue on 'Trash And Reapy', the session takes an unexpected about-turn on the B-side with a washed out piece of witching hour ambience, spectral SAW voices and gongs clocked around Giles in 'Bells'. RIYL Hype Williams, El Kid, Charcoal Owls.
Dating back to 1957, The Story Of Moondog followed up the previous year's More Moondog LP, setting its course for adventurous new sounds and homemade percussion meditations.
The music is never a slave to any one fixed agenda and much of the material here sounds as if its gathered from some undiscovered culture - it's all-but impossible to compare this with anything else from the era, but when the longer-form pieces arrive they augment the more primal, outsider aesthetics with visceral, jazzy arrangements.
'Up Broadway' is an urgent and thorny construction combining the rhythmic complexity found elsewhere with aggressive horns, while 'In A Doorway' lets a little of the outside world into its recording, embracing the street sounds that so influenced Moondog's early works and intermingling them with instrumentation. It's a curious combination of musical improvisation and concrete sound which, once again, you simply would not associate with this era.
Originally released in 1956, More Moondog was the second album by Louis Thomas Hardin, followed the next year by a further LP, The Story Of Moondog. The tone of this fragmented, wildly eclectic body of work tends to rest its focus on percussion, exploring the Eastern-influenced, gamelan-styled sounds developed by homemade instruments like Moondog's famed "trimba" and "oo".
The majority of the compositions here are brief, often very intricate miniatures, which within the space of a mere minute or two instantly place you in Moondog's singular sound world, structured with difficult time signatures and populated by sounds that are quite unlike anything you'd hear anywhere else. It's hard to imagine how alien this music must have been back in the 1950s. When the longer-form pieces arrive they embellish upon this primal, outsider aesthetic with visceral, jazzy arrangements. 'Up Broadway' is an urgent and thorny construction combining the rhythmic complexity found elsewhere with aggressive horns, while 'In A Doorway' lets a little of the outside world into its recording, embracing the street sounds that so influenced Moondog's early works and intermingling them with instrumentation.
It's a curious combination of musical improvisation and concrete sound that you simply would not associate with this era. The album is completed with a selection of strange avant-garde pieces drawing on speech recordings and more lyrical, solo recordings played on keyboard instruments, including the almost ragtime 'Fiesta Piano Solo' which demonstrates the lack of agenda in this composer's canon. Moondog's outsiderness ensures an approach to modern composition that doesn't ever establish any single, fixed identity, which is of course what makes this man such an alluring figure in 20th century music.
Classic Huerco S.originally released in 2012, this was the release that first brought Brian Leeds to our attention - major tip if you’re into Actress or Newworldaquarium, even those moody Burial and BoC Ambient interludes ...!!!
A much needed new edition of the knockout ‘Untitled’ tape from Huerco S, originally issued on cassette by Opal Tapes in 2012 and blending the sort of smudge-house tropes found on NWAQ’s ‘The Dead Bears’ or Actress’s ‘Hazyville’ alongside an extended 20 minute/sidelong piece of smoked-out bliss on the flip.
‘Press On (Ruff Rub)’ oozes doped-up bass flesh alongside cracked Vangelis synth strokes, making for a proper scene setter, while the tense sensuality of ‘Elma (Ruff Rub)’ is House music at its most spectral, abstract, mixing elegant melodic pirouettes with coarse drums and druggy subs.
Drifting from the ‘floor, the exquisite, BoC-like boogie massage of ‘Hiromis Theme’ acts as a sort of new age interzone before the standout flipside which gives the EP its name; a 20 minute, blissfully evocative fever-dream hitting right between the eyes of early Emeralds and Huerco’s much loved later albums for Proibito and his own West Mineral imprint.
C L A S S I C.
Alga Marghen present this new edition - a vinyl-only first release of Eliane Radigue's pivotal, previously unreleased 'Opus17' - her last work made with feedback material.
It's one of the strongest, if not definitive, examples of Radigue's tactile and meditative approach to composition, an engrossing, intuitive refinement of the techniques and practice she honed over prior years at RTF's Studio d'essai under the guidance of Pierre Schaeffer and Pierre Henry's Studio Apsome, and later at the New York University School of the Arts. Created at the Fête en blanc - White Festival - in Verderonne on May 23, 1970, 'Opus17' breaks down to five pieces making up a voyage to the heart of the drone. Using various early tape techniques, Radigue meticulously peels the source samples in a discreet microcosmos of morphing, moebius-like loops and shimmering overtones, rendering their vibrational energy and unique accents with a poetic, dreamlike quality.
It opens with a shock on the 19 minute self-portrait of 'Etude', where she gradually transforms a looped passage of Frederick Chopin into an opiated, howling ghost of itself using practically identical microphone and tape feedback procedures to those on Alvin Lucier's 'I Am Sitting In A Room' (although it should be noted that she wasn't aware of this at the time), whilst 'the shorter 'Maquette' applies the same technique using a part of Wagner's 'Parsifal', but this time with the sample subtracted leaving only a spectral trace of grandeur.
Following this, we're floored by the roiling pulsations of 'Epure' - a sort of rudimentary pre-cognition of industrial and minimal techno building palpitating throbs into a dense yet delicate and ferric-rich flux, sharing rhythmic similarities with the aptly titled trip of 'Safari', where elliptic bass patterns melt and congeal in morphing shapes and curdled overtones with an alien, otherworldly quality presaging the like of Rashad Becker. Yet, the ultimate exposition of Eliane's time-dilating technique is found in the 22 and a half minute panoramic excursion 'Number 17', examining her sonic phenomena at microscopic level, homing in and expanding on its globular bass shapes and radiant harmonics.
Even by Radigue's standards, this is a breathtaking body of work, opening up whole worlds of sound from so little.
Kantamoinen is perhaps the most intimately beautiful yet little known LP in MIka Vainio's Ø canon, bridging the gap between his classic ‘90s minimal techno productions - compiled in the vital Metri and Olento collections - and the project’s subsequent turn to more ambient, kosmic and dub wise dimensions in the coolly brilliant Oleva and Konstellaatio albums.
Upon original release it was an immediate favourite of ours - a go-to disc for hazy daydreaming and post-club head salvage alike, drifting between iced out instrumental rhythms and chasmic spaces interspersed with moments of indelibly heart-rending melody that have clearly lodged in the memory ever since.
Taking in 16 tracks in just under 50 minutes, it’s notable for including a number of exquisitely succinct - or tantalisingly short - glimpses of Vainio at his sweetest, even sentimental, especially with the breathtaking Tuulessa / In Wind and the frosted harmonies of Talven Henki / Winter Spirit, as well as the rare appearance of vocals (the voice of Oskar Sala recorded by Hans Ulrich Obrist) in the armchair transportation of Äänikuva / Sound Picture.
Vacillating poignant emotive clarity with forlorn abstraction, this expansion and contraction between deep, wide and relatively longer-form pieces, and a high frequency of shorter, starry-eyed passages, lends the album a more broken, strangely resolved flow than many other Mika Vainio records, and with a twinkling lustre that refocuses the ear with an ancient yet timeless sort of depth perception and atemporal appeal.
It’s an often sublime and necessary addition to any collection of classic ambient music and a firm reminder of Mika Vainio’s full spectrum electronic dominance and purity.
Blinding technoid fusions of flashcore and Techno at 130bpm on the surprise 7th release on Mumdance & Logos’ Different Circles label, RIYL Sleeparchive, La Peste, Shed, Chevel...
Different Circles round off two techno killers nearly 10 years since Szare’s coded conception as 184.108.40.206.5 for Horizontal Ground to reaffirm their unique position within experimental bass/techno dimensions.
Bringing a mongrel sense of Manchester dance music to the plate on both sides, Szare morph rolling big techno with deft traces of flashcore to scintillating impact on Kodiak with its searing paso doble breakdown and bleep coda best compared to Sleeparchive going in double hard with La Peste.
On the other side, Translocated figures a rugged calculation of staccato jacking UK warehouse dynamics rudely compatible with Mumdance & Logos’ FFS/BMT bangers and the wider Different Circles catalogue, but with a hypnotic, industrialized dance energy that is Szare to the core.
Prayers are answered with Vainqueur’s Reductions 1995-1997, a compilation of in-demand cuts from René Löwe’s seminal Chain Reaction 12”s and Elevations CD, including the vinyl premiere of Antistatic and first ever appearance of Antistatic II on any format, all available on wax for the first time in over 20 years!
For anyone who came thru during the late ‘90s and early ‘00s, Vainqueur records were required listening - beyond Maurizio’s M-Series and the Basic Channel catalogue, they’re some of the strongest dub techno trax in existence. Now, two decades later, they still appear regularly in the mixes of those in the know, but their 2nd hand prices have steadily crept up in parallel.
To newcomers and older fiends alike, this 3LP selection provides a perfect overview of Vainqueur’s most feted period (not withstanding his all-time banger Lyot , but that was a kinda one-off). The first disc revolves his banging Reduce 1 and the monotone brilliance of Reduce 2, whilst the 2nd disc renders the more tender gasps and dub chords of Solanus (Original) and the heady Elevation II - both masterclasses in German techno minimalism - while the 3rd disc significantly presents the flared chords of Antistatic, taken from the Elevations CD, on vinyl for the 1st time, backed with the exclusive-to-this-12” Antistatic II.
Christina Vantzou follows her role in the superb CV & JAB album for Shelter Press with the starkly haunting No.4 in her chrono-numeric series of albums for Kranky.
Her JAB foil, John Also Bennett (Forma) also assists on this one, as do Angel Deradoorian, and members of Belgium’s Echo Collective, all sensitively incorporated into her signature dimension of smoky dream sequence logic and texturally rich electro-acoustic timbres. A strong look for lovers of Angelo Badalamenti & David Lynch soundtracks, Bohren & Der Club of Gore, Global Communication - in other words: night time music.
“Belgium-based composer Christina Vantzou’s fourth full-length for Kranky ventures further into the uniquely elusive and evocative mode of ambient classical minimalism which has become her signature: a fragile synthesis of contemplative drift, heady silences, and muted dissonance. In regards to the new album she speaks of focusing particular attention on the effects of the recordings on the body, and of “directing sound perception into an inner space.”
No. 4 took shape across roughly two years, incorporating a diverse array of musical and conceptual collaborators, including fellow Kranky artists Steve Hauschildt and John Also Bennett (of Forma) as well as Angel Deradoorian (ex-Dirty Projectors), Clarice Jensen, Beatrijs De Klerck, and members of Belgium’s Echo Collective. During the creation process Vantzou wanted to “blur lines of hierarchy,” and thus allowed all ensemble members and technical assistants to add or delete elements. Despite such a spectrum of input the eleven tracks feel distinctly cohesive, weaving elegant textures and resonant open spaces within a twilit landscape of eclectic instrumentation: piano, harp, vibraphone, voice, strings, marimba, synthesizers, gong, and bells.
Vantzou describes the recording process as one of prepared spontaneity: that is, “having plenty of ideas ready to explore going into the session, but with enough time to depart from those ideas and see what happens.” This mindset of premeditated exploration informs the album’s emotive textural intuition, with hushed drones and delicate gestures eliding in the periphery of the mix. She cites sleep and “the loosening of time” as two formative practices in her private and professional life, which manifests in the quietly hallucinatory properties of Vantzou’s music. No. 4 feels both endless and ephemeral, immersive and immaterial. It’s a music of horizon lines and half-light, mapped with feeling and foresight.”
Erstwhile Factory Floor member Richard Smith ploughs out three ruts of wonky acid noise as L/F/D/M, backed with a crafty remix by Nick Dunton ov 65D Mavericks.
L/F/D/M’s original range from the body-swilling EBM acid of Sixteen Snakes and the atonal roiler X-Enter-O to a sizzling and slippery 303 workout named Silver Grain, whilst Nick Dunton tidies up Silver Grain in an infectious remix featuring smoother acid contours and mutant blue vocal on the D-56M Poverty remix.
Dominick Fernow meets Patrick O’Neal (Skin Crime) in Hanged Mans Orgasm mode for a vocal companion to the epic 7LP Prurient opus, Rainbow Mirror. Fernow shares vocal narration with DC Comics story-writer Scott Bryan Wilson (who’s also credited with writing on Frozen Niagara Falls) set to bleak backdrops of atomic radiation textures and field recordings of Hanged Man’s Orgasm, the début ‘90s project of Patrick O’Neal from cult death electronics unit Skin Crime.
The label compare Unknowns with “the american counterpart to Nurse With Wound set in the decaying rural fields of new england” and, for us, the combination of low key vocals and textural attrition could also be compared with John Duncan’s efforts in that arena, as the density of atmospheric pressure inside better recalls Duncan’s esoteric experiments with shortwave radio on Riot, but, in the case of this A-side, mixed with the kind of vocal delivery heard on Duncan’s surreal Bitter Earth songbook.
The notorious Kris Lapke a.k.a. Alberich lends his haggard touch in production to bring both sides to life with unflinchingly stoic and visceral force, most powerfully in the B-side’s burial by rubble in a shallow grave.
BFTT, Chekov, Lack and Howes deliver low key and shifty UK bass and electro-techno mutations on the latter’s Cong Burn - the label which introduced Lanark Artefax to the world back in 2015.
In suit with Cong Burn 01, which featured Howes alongside Perfume Advert and Amxd’s Haddon & L. Pearson on a subliminal house and bass tip, the 2nd Cong Burn vinyl keeps the vibe late night and smoky between the hydraulic electro action of BFTT’s Public/Private and the vintage Dynamo styles of Absent by Leeds-based Lack, while Chekov induces a canny halfstep skank with the cranky Celeste, and Howes checks out on a smudged dub house bent.
Bonny sings Susanna, to simply try and save the world.
"Sonata Dwarf Mix Cosmos is an old companion of his and with the Chijimi house band +1 they bring it all back home again, this time to the space in Bonny’s place.
“As other practitioners are leaving the room in favor of novel forms of recording and distro and consumption, PALACE, fantastical and real
structures and practices. Like we are allowed into the museum at night. We can make a great essentially live record with great songs and great players because nobody else is? ‘Wolf Of The Cosmos’... is about, as much as anything, direct engagement with recorded music. So step right up to the replicant.” -
Bonnie ‘Prince’ Billy is joined by musicians Emmet Kelly (bass guitar, voice, acoustic guitar), Cheyenne Mize (violin, slide ukulele, voice), Chris Rodahaffer (banjo, voice, acoustic guitar) and Elsa Madeline Oldham (juice harp)."
DJ Spun and Jonah Sharp (Reaganz) romp on a psyched-out no wave house sound as The Loose Control Band
Pairing their Trevor Jackson-esque grinding title cut I Don’t Understand with a more rolling but still grizzly Radio Slave remix on the front, backed with a driving psychedelic trance workout in Ryan James Ford’s Akihabara remix, and a wickedly offbeat and roguish Hope remix.
STROOM 〰 serve a compilation of dreamlike works by Brussels-based collective Pablo’s Eye drawn from their catalogue circa the early-mid ‘90s. There’s some lush passages to be found...
“Pablo’s Eye is the science of studio pressure, when engineer becomes artist. Appropriating left and right as well as front and back, Pablo’s Eye uses the mixing desk to examine and exhaust the possibilities of moments. Pablo’s Eye is a record of that examination and exhaustion, but it is also a record of its own inner space. By means of depth placement, psychoacoustics and spatial fug, Pablo’s Eye is experienced in the deeper reaches of the body, bypassing the conscious part of the mind entirely.
Pablo’s Eye is the turning of recorded music inside out to show its seams. It interrogates a song, stripping down the body of the song to reveal its bones. Pablo’s Eye is in the interstices of music, it plugs the gaps, fills the holes. Pablo’s Eye seeks out the concealed mechanisms, it is a song’s hidden agenda.
For this compilation, it was decided to present the softer air-beatings of Pablo’s Eye. More than anything, Pablo’s Eye is a temporary atmosphere, like a taste or a dream…”
Diverse, colourful psych-house, breakbeat and ambient plays from Earth Trax & Newborn Jr, following the form of their Rhythm Section Intl and Echovolt releases with this 5-track bewt for Dopeness Galore.
Working in two distinct halves, the first side dances to a cantering acid ace called Maze with stealthily building acid harmonies spiralling into a lush sort of proto-trance sound, while Where There’s A Will There’s A Way tilts to a hazy and charming breakbeat roll set off with polychromatic synth plumes.
The B-side dips deeper, shedding the beats to leave lushly suspenseful bassline and choral percolations with levitating effect in Acid Burn, then bathing in new age dub on Technoir, and swooning out into the Carl Craig-like Diamond Edge.
Shapeshifting Whities artist Quirke reels between clattering and assymetric strains of ambient techno for Nic Tasker’s label.
Vatied City sounds like ‘90s AI techno played on wood drums and jawbones by some ancient peoples; Transport is more faded, elusive and ghostly, a sort of after-image of the real thing, but still with a strong bass presence; and Hydraulic Deer reminds of 154’s smoky deep techno detachment in a similar way to Actress and Lee Gamble.
Fluxion seamlessly meshes dub techno and film score styles in a sublime 7th studio album, Ripple Effect, dispatched via his Vibrant Music label in the wake of two sublime Transformations excursions with Deepchord. Unfurling a glacial sequence of noirish vibes and barely-there electronic inference evoking classic cinematography and out of body experience, it’s a sound that could be effectively summed up as Mamangakis meets Moritz Von Oswald in Athens at midnight.
While usually considered mutually exclusive paradigms, in Fluxion’s hands film music and dub techno make perfect bedfellows, with the evocative cues and gestures of the former beautifully melded into the latter with no disservice to either. The end results form an ambiguously malleable narrative that we’d imagine is perfect for headphone-dwelling flaneurs and wandering old cities on balmy evenings, as the album drifts from filigree detailed dub bass and sylvan keys in Train Incident, to moments of Bohren-like jazz noir in Momentum, to what sounds like a clarinet line from the Heimat soundtrack mixed with contemporary MvO grooves in Another Side, before stretching out over 11 minutes of gloriously subtle scenes in Tipping Point, the album’s denouement, into the windswept slow motion rendering of Fortitude and the sorrowful closing title of Moving On.
Brian Mcbride and Adam Wiltzie's "Stars Of The Lid" are another one of those bands, alongside Windy and Carl, that seem to typify Kranky's quiet exuberance perfectly.
Their ability to create drifting shimmers of sound that veer from hushed, whispered soundscapes to disturbed crescendo's utilising nothing more than a couple of guitars, some basic effects pedals and whatever found sounds happen to be lying around has allowed them to progress slowly from one album to the next with the sort of intuitive, masterful command of minimalism that's quite hard to fathom in one sitting.
"Gravitational Pull" was originally released on the Sedimental label, eventually reissued by Kranky back in 1998, including extra material. Amazing stuff.
Oake really find their gothic muse in debut album, 'Auferstehung' for Downwards.
Firmly building on the foundations of two shadowy 12"s released in 2013, the duo distill and transcend their influences across eleven stations of unrepentant gothic histrionics and industrial techno prostration. The production is now right up there with the detailed, excoriating levels of The Haxan Cloak, and also matching the rhythmic heft of label-mate Samuel Kerridge (with whom they recently formed the UF collusion), but with a kohl-eyed romanticism all of their own creation.
From the swooning black metal/shoegaze signatures and blast beats of entrance, 'Vorwort: Umiha Sien' we're manipulated with the near-religiose levels of mysticism, vacillating between shorter, doomy 'Kapital' invocations and the blasted sound of bellicose/ecstatic congregation in 'Erstes Buch: Desterieh l'Remm' to the eulogistic sludge metal drones of 'Fuenftes buch: Dreloi Wechd' and the stygian trudge of 'Sechstes Buch: Rehmin Sicht', departing with the widescreen epic, 'Siebstes Buch: Drestan Sened'. RIYL Scott Walker & Sunn 0))), Sam Kerridge, Swans.
UKF king Roska rolls out heavy but nimble on Byrd Out, a new label who’ve previously released everyone from Mark Archer to Mad Professor and Evan Parker.
Up top he meshes bolshy brass to double-dipping subbass and slippery congas in classic Roska style (actually, where’s the Roska! Roska! Roska! stabs?) before tucking simmering organs to a more clipped and swaggering groove called Warming, punctuated with bright samba whistles on the pivot.
Theo and pals stretch out at jazzy angles on Gentrified Love, Pt.4
Bubbling uptempo with the burning hustle of Leave The Funk To Us feat. Amp Fiddler & Ideeyah on a P-Funk house flex, whereas Be Like Me hits the downstroke on a well-tucked boogie jazz turn starring Paul Randolph and Kathy Kosins.
Levon Vincent offers two deep cuts from his Paris  album on vinyl; Only Good Things and Kissing.
Only Good Things trades in a reserved but optimistic line of mellow technohouse stealthily developing choral synth voices and floating pads on a shifty, minimalist groove. On Kissing a stronger, undulating bass anchors some of his sweetest phasing string chords, overlapping and building to frothy pizzicato peaks in a way that resonates with his schooling by a former engineer of Steve Reich’s.
The collaborative venture of Turk Dietrich and Michael Jones, Belong inhabit a sonic territory that seems perpetually out of sight - giving the same effulgent warmth as standing with your back to a sunset, or glimpsing a blizzard through a frosted window.
Spectrum Spools scan back to the early work of Second Woman’s Turk Dietrich with reissue of his and Michael Jones’ first album together as shoegaze duo Belong. While there’s maybe no obvious connection between the hyper dance music of Second Woman and the romantically sore, heavily textured tones of October Language, look a little further and it’s possible to locate a shared lust for keening transcendence and a lush tension between freeness of expression and discipline of intent between the two projects.
But no worry if that’s not apparent. Just think of it belong as a sublimated MBV or echo of Fennesz and you’ve got the measure of this abrasively beautiful album.
Gramz joins Youngsta’s Sentry label with two distorted half step payloads
Dispensing the bitter tang and growling subs of Dip Dip Potato Chip on top, then emerging from a messed-up abstract intro into a lockjawed, chattering killer called Illa on the other side.
Christian Jay pivots on a dubby garage 2-step again for Idle Hands
Following his Contrail début with a nimble number called Katalox remaining us of Tender Love era SND, and from a moody blue angle somewhere between early Prefuse 73 and Herbert in Del’s Kicks.
Vakula slightly changes his name but sticks to a familiar style of deep, spaced-out techno-house as Vakulism with Edelweiss Reflection
Gliding from floating ambient house structures thru beatless zones inhabited by stray Japanese voice, and over to dubbed out acid techno and lilting ambient house with Japanese inspirations.
Beta Evers ropes in Heinrich Mueller for her moody side of a split with Spatial Relation a.k.a. married NYC couple Lissette and Jacob Schoenly.
Evers’ side yields three cuts in a declension of energy and mood, from the taut acid electro of Hiding, to the weightless doom of Soundtrack For A Tomorrow and finally bringing in Detroit deity Heinrich Mueller (Dopplereffekt) to enhance the unheimlich synth dimensions of Innerhalb Der Zeit.
Spatial Relation’s tracks are spikier, driven, ranging from the spiky prod and droll vocal of Highly Questionable, thru the druggy night slug of Last Night I Dreamt to an amphetamine-dosed hot-stepper, Spectrum Of Hues.
Premiering to the world at large, Tony Conrad’s gobsmacking quintessential opus Ten Years Alive On The Infinite Plain is now available to hear for the first time, featuring Laurie Spiegel and Rhys Chatham and arriving via Superior Viaduct just over a year since the death of the iconoclastic avant-garde violinist and composer in 2016.
Conrad’s sprawling, innovative practice - binding film, sound and performance in peerless and unprecedented style has been a huge influence on his myriad collaborators and far-flung body of avowed admirers. Just like the amazing and revelatory documentary, Tony Conrad: Completely In The Present , this steeply immersive 1hr, 30 minute recording should also attract a whole new wave of listeners to his truly sui generis music and cement his place in the 20th century avant-garde firmament, if it wasn’t already.
Recorded at the piece’s premiere at The Kitchen, NYC, in 1972, this release of Ten Years Alive On The Infinite Plain effectively forms some of the earliest documentation of Tony Conrad solo, one year before his legendary ..with Faust LP. Accompanied by Rhys Chatham playing the Long String Drone - a six-foot strip of wood with bass strings and electric pick up, prepared with tuning keys, tape and metal hardware - and Laurie Spiegel thrumming a crunching arrhythmic bass throughout, Conrad leads the 1hr 28 minute piece with the sustained caterwaul of his favoured violin (often the most battered model he could find), scraping back and forth in a pitching, phasing, mind-bending performance dating to just after his time spent developing this technique as part of The Theatre of Eternal Music with La Monte Young, Marian Zazeela, and John Cale - whom cites Conrad’s sonic philosophy and contributions to early live Velvet Underground actions as a pivotal formative influence over the esteemed artrock pioneers.
Completely mesmerising, the instinctively fearless results are belied by a conceptual and mathematical rigour that boldly asserted Conrad’s convictions in a unity and transcendence of all things. And yet whilst divorced from the visual aspect of the performance - a row of quadruple projections arranged side-by-side, incremental overlapping to form a pulsating picture - which was surely a major part of the piece, the sonic results still carry a potent meaning through its durational reinforcement of purely dissonant tunings and insistently dragging yet forward motion - an inexorable drive intently focussing themselves, and the listener, in the eternal traction of the present.
In terms of that effect at least, we could compare the piece’s intensity and heightened hallucinogenic qualities with extended studies such as Éliane Radigue’s Transamorem - Transmortem, Alvin Lucier’s Music On A Long String Wire or Harley Gaber’s Wind Rises In The North, for example, yet there’s something utterly primal at play that bucks all those references, and appears closer to a prescient, overproof distillation of folk immediacy, rock’s lusting urge, and the hypnosis of tribal/trance/techno musics.
It’s a completely stunning piece of music that will repay the attentive, attuned listener with endless rewards.
The widely-adored post-Stereolab unit of Tim Gane, Joe Dilworth and their pal Holger Zapf take their krautrock/psych buggy for another long player jag
Following from recent reissue of their debut LP Blood Drums and a new album, Void Beats/Invocation Trex, both released in 2016, on Hormone Lemonade they refuel the tank with gallons of liquid LSD and, presumably decked in best rollnecks and comfy cords for a highly stylised and charmingly archaic trip back to ‘70s psych vibes.
Almost all of the afro-Cuban music in this compilation fell under the new marketing category ‘salsa’ (up till then it would have been simply called Latin music), and its cradle was New York City, where the tradition flourished amidst the constant mix of ethnicities and so many styles of music.
"It was inevitable that afro-Cuban music would proliferate in new genres reflecting its new home. Afro-Cuban jazz was born in New York City, through the amalgamating creativity of musicians like Chano Pozo, Machito, Duke Ellington and Dizzy Gillespie. Likewise Boogaloo in the mid sixties, coming out of Harlem, joining Guajira and son with soul, R and B and doo-wop.
The recordings on Son Cubano NYC were made over the decade beginning 1972, for the new Salsoul and SAR labels and their sisters Mericana and Guajiro. For the trumpeter Chocolate, the music has ‘broader harmonies and touches of jazz phrasing, but never leaves the raices and cinquillo… Cuban music is natural - its essence is its raices [roots]’. For the singer Henry Fiol, ‘New York salsa is a hybrid. When Cuban music moved to New York it added another flavour.’
Latin music was exploding in the City. You could hear deejays like Polito Vega playing on the radio at any time of day; you could go dancing any night of the week, throughout the boros, at clubs like Corsos, Casablanca, Bronx Casino, Ochentas, Club Cabrojena, Carlos Ortiz’ Tropicana, Hunts Point Palace. And yet — held back because of the unmistakable Cuban personality of its music — ‘the success of SAR was due mainly to word of mouth’, as co-founder Sergio Bofill recalls. ‘We didn’t get airplay and found that we could do without it and still sell albums in the USA, Europe, and Africa’. This was still the period of the Cold War — when Eddie Palmieri was accused of ‘communist salsa’ for his song Mozambique (which isn’t even salsa) — and the radio stations did their bit to suppress Cuban culture.
Within a few years — by the mid-80s — New York salsa was becoming stagnant: ‘boring and monotonous’, in the words of historian Max Salazar; for Charlie Palmieri, ‘Europeanized’ in its disavowal of improvisation. The music-making on this album was dismissed as old-fashioned. Actually — in the glory of its long, flowing, rootsy forms, in the irresistible spell it casts on dancers everywhere — it is timeless."
Newly reissued on Superior Viaduct with Cover photography by artist Michael Snow
'Four Organs' / 'Phase Patterns' are two of Steve Reich's earliest recordings and were originally released in 1970 on the French label Shandar. They still sound magnificent, futuristic and elemental today, some 40 years since they were first realised.
With 'Four Organs' Reich applies the idea of slowing down a piece of sound until many times its original length without changing pitch or timbre. In it, Jon Gibson's maracas play a fast eighth note pulse while the four organs - played by Steve Chambers, Philip Glass, Art Murphy and Reich - stress certain notes using an 11th chord, creating a hypnotic cycle with trance-inducing rhythmic subtlety. 'Phase Patterns' follows a similar schematic, sans maracas and was Reich's first piece to be performed in a large traditional setting.
Lena Willikens takes Dekmantel’s Selectors series for a slow-to-midtempo psychedelic jag with 12 tracks of munted acid, soiled EBM, and cosmic tribal chug, including exclusive gear from Jasss to Parrish Smith and obscure vintage from Sandoz and Varoshi Fame.
A fine representation of what Lena plays in her famed DJ sets, both solo and often with Vladimir Ivkovic, the set is bound by shared tastes for crunching but shifty mechanical rhythms and expressively bittersweet electronics.
Jasss gives a big highlight with the slurred bass and streaking mentasms of Little Lines, her first new track since the world-taking Weightless album, and Parrish Smith also impresses with the recoiling hot-stepper Minima, while the set also reveals new sensations in the sheer, sexy grub of Deep Space from Sysex, and the immersive comic slosh of Amalgame from Vromb, and Chekov’s re-edit of the jagged EBM piece Voice of Command  by Varoshi Fame.
T++ presents his much anticipated doublepack for Honest Jons, his final release under the T++ moniker.
For this project Torsten Pröfrock was given access to the label's vaults, selecting a handful of samples from two recordings of the singer and ndingidi-player Ssekinomu, made in East Africa at the end of the 1930s and in the mid-1940s. He deftly weaves snippets of these recordings into his matrix of rhythms, adding a human (albeit acousmatically warped) element to his music that we've never heard before. In a certain sense, it follows a very long tradition of German electronic auteurs looking to Africa for inspiration, from Karlheinz Stockhausen, to Can, to his peers Moritz Von Oswald and Mark Ernestus, seeking to connect his consciously futurist ambitions with something more primal and innate.
The result is a crop of tracks that take the lurching urge of 2-step, techno, dubstep and D'n'B and re-sculpts it into twisting new forms, mutating bare bones kick/snare syncopations into a coded double helix, around which connective tissues of adroit FX and sub-bass coalesce.
Shorelights is a collaborative ambient techno project feat. Rod Modell (Deepchord, Echospace, Waveform Transmission, Transformations), and Walter Wasacz and Christopher McNamara of the Detroit-based audio visual collective nospectacle.
"Ancient Lights expands the vision and the range of the Shorelights aesthetic, heading into deeper territories of inner and outer space. It's ambient for body and spirit, sound designed to make the human heart dance."
Gerald Donald (Heinrich Mueller, Arpanet, Dopplereffekt, Drexciya) initiates new alias Xor Gate with the 30 minute wormhole of Conic Sections.
Originally commissioned by ArtCenter South Florida in Miami, this release renders one of the longest works in Gerald Donald’s expansive microcosmos, giving enough time to explore his fascination with maths and geometry to the nth degree, but with that grasp of sweetly human pathos that sets his advanced sonic research leagues apart from the field. It’s highly recommended to immerse in this one as a solo mission, with lights dimmed and eyes shut, and its highly visual sonic stimulus work its magic on the back of your eyelids.
A timely reminder of Derek Bailey’s mould-breaking expressive genius, sparring Han Bennink on drums on the 2nd ever reissue of their Selections From Live Performance At Verity’s Place- originally recorded in 1972 and now repackaged with an extra side of the duo’s improvisations made in September 1973.
For the uninitiated, this pairing is a formidable and perhaps hard-to-grasp proposition, but their combination of playfulness and feral nature is underlined by cutting precision and dexterity that’s hard to ignore, especially if you’re intrigued by the chaos of noise music proper or the deviant angles of dance music’s more extreme, grid-warping innovators.
For everyone else - from blues scholars to avant-rock freaks and free jazz nuts - you’ll probably already know that Bailey / Bennink’s early free improv hook-up is a genuine blinder.
Pangaea goes in with ’92-style ‘ardcore pressure on Bone Sucka, plus a stripe of pumping Belgian techno-meets-UK bleep in Proxy, unleashing two of the strongest cuts on Hessle Audio in years.
The ruffkut and deviant breakbeats of Bone Sucka instantly recalls the rolige of one of our favourite Panagea cuts - Inna Mind  - but the filigree mixing trickery and layered sound design defines the distance his productions have come since that relatively early strike.
Proxy on the other hand metes out a tufted jack working somewhere between the muscularity of early Belgian techno and the hypnotic pressure of SoYo bleep bouncers, but with an up-to-date, mid-fi gaze that will draw you deep in during the late hours.
Derek Bailey’s incredible debut solo showcase is given a necessary, expanded reissue as part of Honest Jon’s reissue series of important releases on Bailey and Evan Parker’s Incus Records. The original LP of finger-flaying improvisations and Bailey’s takes on works by Gavin Bryars and Misha Mengelberg is now augmented by an extra disc of farther improvs, including a solo show at York University in 1972.
The late, great guitar pioneer’s Solo Guitar remains pivotal testament to his endeavours in dismantling modern instrumental music and freeing it to more curious routes of expression, much in key - so to speak - with the US free jazz and improvised music which it evolved from. Love it or not, this record remains a totem of late 20th centre musical exploration.
“Recorded in 1971, Solo Guitar Volume 1 was Bailey’s first solo album. Its cover is an iconic montage of photos taken in the guitar shop where he worked. He and the photographer piled up the instruments whilst the proprietor was at lunch, with Bailey promptly sacked on his return.
The LP was issued in two versions over the years — Incus 2 and 2R — with different groupings of free improvisations paired with Bailey’s performances of notated pieces by his friends Misha Mengelberg, Gavin Bryars and Willem Breuker.
All this music is here, plus a superb solo performance at York University in 1972; a welcome shock at the end of an evening of notated music. It’s a striking demonstration of the way Bailey rewrote the language of the guitar with endless inventiveness, intelligence and wit.”
Astonishing archival works by Eliane Radigue, originally released along with Vice-Versa as a double pack, and now available as standalone LP. Listening to Radigue's music is a transformative, humbling experience. Her singular sound is best described by Michel Chion as "infinitely discreet... next to which all other music seems to be tugging at one's sleeve for attention."
Working since the late '50s under the tutelage of Pierre Schaeffer and Pierre Henry at RTF's Studio d'essai - the birthplace of musique concrète - Radigue created a body of work whose profound simplicity has only begun to be widely appreciated over the last decade or so. Preferring to work at night - once her children were asleep - her compositions were created using tones derived from an ARP 2500 synthesizer and manipulated on multiple tape machines, creating feedback loops and altering their pitch and duration to coax out quavering microtonal harmonics and ultrasound frequencies not usually perceived at their normal setting.
As practically anyone who knows her music will testify, there's really very little else out there that compares to the elemental tranquility and hallucinatory effect of her works. This album rescues three pieces from original tapes which have lined the walls of her flat in Paris for over 40 years: proposed for the 1970 Osaka Fair, 'Stress-Osaka' (1969) is beautiful and terrifying at once, sounding either like a 1000 strong squadron of B-52's heard from miles away, or a mouth-bound choir humming in unison, somehow subliminally joined by shrill gull-like hi-end repetition; the spectral beauty 'Usral' (1969) was employed for a kinetic sculpture by Marc Halpern, it's title "...a phonetic compression of ultrasounds slowed-down (ultra-sons ralentis in French)" reflecting the use of slowed-down Larsen effects from overlapping tapes to obtain her signature "progressive a-synchronized shifting"; the systolic suspension of 'Omnht' (1970) (one more night) is twenty minutes of slowly encroaching black bass mass and isolated, glassy highs, originally played from behind false dividing walls at a gallery instal and now leaving us for six.
An absolute masterpiece.
Honest Jon's reissue Lee Scratch Perry's 1980 masterpiece, the final record made at the Black Ark studio before its ultimate demise.
Appearing after his equally seminal series of 'Super Ape', 'War In A Babylon', 'Police And Thieves' and 'Return Of The Super Ape' LPs, it finds Perry during a turbulent period - his Black Ark compound has been occupied by occult Rasta factions, his wife has left him and nobody came to visit any more - but the music within is evidently some of the greatest he ever made.
It opens with the eleven minute sexual boast 'Bed Jammin', a psyched-out and heavy rolling session with nutty lyrics set to humid, grinding groove, besides the stunning, almost-baroque Casio keys and lagging steppers' drums of 'Untitled Rhythm' or the swooning 'Give Thanx To Jah', thru to the cuckoo soul of 'Who Killer The Chicken' and the blunted delirium of 'Some Have Fe Holla'.
This music is everything, there's pop, electronic experimentation, soul, and funk, all imagined with the most incredible, psychedelic vision - a combination which should only be ignored by the foolish. A stone cold classic record.
'London Is The Place For Me 3' is a fantastic collection of African music originally recorded as 78's on the Melodisc label.
The product of Ambrosa Campbell and his West African Rhythm Brothers/Stars, tracks like 'Lagos Mambo' and 'We Have It In Africa' combine a keen jazz aesthetic with gorgeous chiming guitar and Caribbean rhythms. Capable of evoking summer sunshine in slate-grey February, the impact of this music in post-war Britain must have been astonishing - a situation which is vividly documented in the extensive liner notes.
Killer, previously unreleased DIY theatre soundtrack by the mastermind behind Belgian cold wave popstars Pas De Deux, released for the first time on vinyl via Ziggy Devriendt’s indispensible STROOM〰 label. It ncluded the rare peach 'De Zus van Adeline' off De Kreet’s 7” Dark In The Shadow, and slotting into their brilliant roster with an experimental confection of new wave pop, synth vignettes and roiling post-punk grooves.
“Theater De Kreet was a short lived theatre collective that existed between 1979 and 1981. In that period the troupe presented just one performance, a musical called 'Adeline' which had a run of six shows during 1981.
The members of Theater De Kreet were originally part of a bigger group called Grasgroen, which was founded by art history students from the Leuven University. The collective mainly focused on so called ‘animations’ in the public space. After a while, Grasgroen split into two different groups (theatre and performance), and Theater De Kreet came into existence. Its core members were Walter Verdin, Guy Dermul, Hilde Wils, Gaby Geysens and Nicole Boffin. Mainly using improvisatory methods, the collective started working on 'Adeline' in 1979. The premiere took place in October 1981 and was met with very mixed critical reviews. Walter Verdin was in charge of the music for 'Adeline'. Originally an art history and visual art student, Verdin was introduced to the Belgian music scene through his record sleeve and poster designs. Prior to the music for 'Adeline', he released a solo album and a 7” white man reggae project with Grasgroen ('Storingen' by Specimen & The Rizikoos). Later in his career, he had his biggest commercial success with Pas de deux, the band that represented Belgium at the Eurovision Song Contest in Munich (1983). After the Pas de deux adventure, Verdin gave up on popular music and had a blooming career in video art, working on video concerts and installations and later on with renowned theatre and dance companies from all over the world.
To write the soundtrack for 'Adeline', Verdin took to the studio of the Audiovisual Services of the KU Leuven, which was his audio and video laboratorium for around 20 years, and subsequently to the ICP Recording Studios in Brussels for post-production. Verdin & co. didn't compose behind a writing desk or a piano. Music for them meant playing - with an instrument, but also with non-traditional instruments. The spring of a desk lamp for instance, could be used to produce music too.
"In that period I was very much experimenting, making new material and using older stuff I had lying around. A lot of the music came naturally. Jean-Marie Aerts would be playing guitar in front of his TV for instance, and I would play along. Or I would just rhythmically move the handle of a flight case – clack, clack, clack – and he would play bass. That became “Lancement”. The melody and the lyrics for “De Zus Van Adeline”, for instance, were written by Guy Dermul, and I made the arrangement for the song.” Verdin's way of playing wasn't an execution, it was playing with sounds, with the technical possibilities of audiovisual equipment, and from this playing, the compositions you will hear on this record emerged.”