ASC plumbs the depths of the grey area in his latest album of D&B/techno/dark ambient mutations.
Seriously when does this guy come up for breath? Hope he has good ventilation in the studio. Anyway, ’Realm of The Infinite’ is up to par with anything else in his catalogue. Whether alloying classic Reese bass with IDM hyperstrcutures in ‘Nocturne’, rolling out serpentine acid techno in ‘Nautilus’, ‘90s trance in ‘Black Rooms’, or scuba diving into slow techno on ‘Arsenic Bite’, and endlessly reverberating, underwater dynamics on ‘Aphotic Zone’, the results are exactingly up to standards one would expect from ASC.
Experimental, avant-garde percussionist Jon Mueller presents some of his most impressive work in ‘Canto’, a steeply possessed invocation of reverberant doom and mesmerising vocal processes comparable with music by everyone from John Duncan and La Monte Young to Harry Bertoia and Lussuria
Last heard in these quarters on the ‘Tongues’ album, which we compared with a “life-affirming ayahuasca trip,” Jon Mueller returns with another deeply haunting suite in ‘Canto’, alchemising gongs, voice and percussion into diaphanous but filigree-detailed drone expanses that bookend a remarkable piece of sustained, extended vocal technique influenced by his studies with La Monte Young and Marian Zazeela, where, in Mueller’s own words: “The driving energy of drums is replaced by deep contemplation and wonder, question, confusion, darkness and ultimately, calm.”
Each titled after a Sufi text, the three tracks are intended to represent parts that create a whole, “just as a canto is a part of a longer poem.” In ‘Oil’ a lonely bell and sallow vocal mantra light the entrance to an exponentially cavernous space awash with shivering chimes and rumbling waves of metallic gong clangour - think John Duncan meditating in the middle of a ‘Sonambient’ performance by Harry Bertoia - while the layered vocal intonations of ‘Wick’ succinctly bend the mind’s eye with ancient magick, and in the final tract of ‘Flame’ he returns to an almost static space echoing with distant pulses in a way that reminds of Lussuria at his most occult and unsettling.
Potent cosmic drone rituals from Argentina’s vlubä, distilling atavistic visions of the future thru lower case electronics, free percussion and finely attuned mental energies
A paranormal art project conceived by Müriscia Divinorum and Aphra Cadabra in 2001, vlubä’s music has extensively travelled between dozens of underground psych and weirdo labels and appeared on countless compilations, splits with the likes of Uton, Futurians and Alan Courtis over the years. Their spiralling flight path now intersects with Egypt’s brilliant Nashazphone for this slab of contrasting sides, pairing one heavy hypnagogic induction with a more wigged-out side of free psych spatter and blatz.
The sidelong spiral of ‘A-Mu-Kia (Fur Future)’ projects a vast tract of slowly unfolding drone on the A-side recalling a smudged take on La Monte Young/Marian Zazeela’s ‘The Theatre of Eternal Music’ but imperceptibly keening into tribal drum patter and ultimately dead creepy, quivering microtones recalling the Decimus series. Their B-side however is more shapeshifting, one minute like Smegma with the sucked spittle and curdled tones of ‘Flower Vimanas’, then like an NWW aetherdream in ‘Grape Nation’, while ‘DlenQnnerv Ffwd!’ sounds like Teresa Winter trapped in a Noz loop, and ‘Mü Camel’ could almost be a waterlogged Spencer Clark piece. In other words it’s all trippy af.
The missing link between Afrofunk and early NYC rap = probably the first ever recorded Ghanaian hip hop track from 1985
Inspired by the prevailing winds of early ‘80s hip hop from USA, Free Youth’s Terry, Abed and Lenny (that’s them giving the Jacko poses on front cover) laid down the discoid fast rap of ‘We Can Move’ in 1985. 35 years later it still pays up on the promise of the title, and comms backed with a slightly relaxed ‘Drymbago 2019 Instrumental Version’ that leans more to the Afrofunk side, emphasising the horns, guitars and groove in turn.
OG copies are pretty much impossible to find or at least super expensive.
Rare-as-chuff Belgian modal jazz diamond from 1969, reissued for the first time by Finders Keepers. OG 2nd hand copies trade for the price of a month’s rent and bills. You know what to do
“The lesser-spotted jazz atoms that formed the fusion of Futurist Flanders! It might sound like an ambitious claim but having been a firm fixture at the top of many European jazz collector want lists over the past decade Finders Keepers wouldn’t be alone when proclaiming this extremely rare, lesser-known two-track 7″ from 1969 as one of the best jazz 45s of all time! Alongside Polish pianist Krzysztof Komeda’s soundtrack 7″ for the film Cul-De-Sac and ranking closely with François Tusques’ commemorative Le Corbusier exhibition 45 (featuring Don Cherry) this format-specific release known only as Brussels Art Quintet might well sit at the top of the podium while striking similarities and arguably combining the best stylistic traits of both aforementioned contenders.
This is all speculative and clearly a matter of individual opinion but it’s not often that one should find a recording from this era, comprising such high production qualities, keen compositional values and robust craftsmanship spread across two equally spellbinding individual tracks, all of which awards this record justified hyperbole albeit subject to a 50 year delay. It is safe to say that this unique release is “rare” on many levels. Like all privately pressed art projects this 45 comprises some serious outsider art trappings. However, on closer inspection it also stands as a pivotal record in the micro-genre of Belgian jazz, pin-pointing an early axis for some vital progressive jazz players who went on to become sturdy pillars of the central European happening.
Essentially as a five-piece, the short-lived Brussels Art Quintet neatly combines members of both the mythical Babs Robert Quartet (early exponents of Belgian spiritual jazz) and key players from the leading progressive jazz/rock/funk unit known as COS (formally Classroom) who would stand as close affiliates of the likes of Marc Moulin, Kiosk and Placebo through the 1970s. Reproduced in close collaboration with COS leader Daniel Schell, who, under the early guise of Daniel “Max” Schellekens, authored both tracks that make up this facsimile 45 single, this one-off single includes the only known output by the Brussels Art Quintet thus marking the essential in-road to instantly start and complete your entire BAQ collection not without reliving the early germination of the froward-thinking jazz fusion that came to shape Belgium’s truly unique movement.”
In the 15+ years that have elapsed since 'Loop Finding Jazz Records' first shuffled out of his ambrosially dusty speakers, Jan Jelinek's most famous album has acquired an almost mythical status. Originally released via Pole's defunct Scape imprint, it now finds new life via Jelinek's own Faitiche label, for a new generation to marvel at one of the finest examples of loop-based electronic music typical of the early noughties.
Taking what reads like a pretty austere set of ingredients, Jelinek's technique revolves around a trio of elements which consist of second long cuts of 1960's-70's jazz recordings, the loop-finding modulation wheel (do your homework!) and the Moiré effect; albeit rendered in the acoustic as opposed to the image and spectral domains.
If all this sounds a bit academic, be assured that on record it is anything but; as crumbling edifices of mealy rhythms slowly pulse into life and swirl around your head like snow storms clashing with a dust devil. Taking sediments of fathom deep static then skimming the best stuff from the top, Jelinek opens through the dampened echoes of 'Moiré (piano & organ)' wherein a slow-motion thrum of spiraling clicks, rustles and analogue tones conspire to give the impression of recondite perspectives that extend well beyond the constituent elements.
Elsewhere, 'Rocky in the Video Age' instills a gratuitously optimistic blush to the aquatic micro-sound ebb, 'Moiré (Strings)' is a perfect companion to Basinski's disintegrating tape archive, whilst 'Them, Their' represents an aural crease so sleight you can only catch its distinctive gleam from the corner of your eye.
So the vault has finally been properly cracked open for this first collection of previously unreleased original version and guide tracks Prince put together for other artists. For us, the real draw here is Prince's own version of ‘Make Up’ - but there are pearls aplenty throughout.
Straight to the good stuff; Vanity 6’s ‘Sex Shooter’ and ‘Make Up’ - the former a classically lascivious purple funk number, the latter one of the most singular, hooky and weird productions in Prince’s entire catalogue; here imbued with extra androgynous brilliance with his own staccato delivery, Sheila E’s 'The Glamorous Life’ featuring those killer, incessant Linndrumm claps, and The Time’s ‘Jungle Love’. Basically, everything sounds better with Prince on it.
'Manic Monday' and ‘Nothing Compares To You’ are also here, as well as Martika’s 'Love… Thy Will Be Done’ and much much more - and while some of these tracks may not be the first thing you’d race to find in the Vault, they still offer a fascinating insight into Prince’s songwriting process, altering his vocal style to the brief, perfecting every note.
But yeah, even just for ‘Make Up’, this is essential gear.
The Mannequin boss and The Hacker gel forces in a brittle and sticky mix of synth-pop, EBM, and coldwave themes delivered under their own names
’Présence Du Futur’ is a solid example of when projects amount to beyond the sum of their parts. Packing decades of experience between them, Amato & Adriani apply razor sharp editing to muscular drum machine rhythms, steely synths and cranky FX in four parts actually worthy of comparison with the templates they draw from, as opposed to yet another formulaic EBM colouring book.
The restless arps, fanged hi-hats and roving bass of ’Falling Inside’ triggers a kilelr session that takes in tendon-tightening EBM/electro torque in ‘The Language of Numbers’, before Cabaret Voltaire’s Stephen Mallinder sets off the cantering ‘Liar’ with a darkroom ready vocal, and ‘Power & Persuasion’ heats the blood with slow burning, lurking bassline yoked to death stare jack.
The patron saint of maudlin romantics, Liz Harris (Grouper) adopts the Nivhek alias for this suite of freeform, glossolalic elegies, featuring a brief guest turn by Kiwi rock legend Michael Morley (The Dead C, Gate), and jointly dispensed between her Yellow Electric label and Superior Viaduct’s W.25th
In two main movements comprising nine titled parts, Harris typically conjures a sense of stately calm underlined with menacing drones. However, the feeling is less bleeding heart and soporific, and perhaps better defined as floating and airily introspective. It’s a subtle but crucial distinction that resonates with her change of moniker and the widely reverberating dimensions and dynamics of the Nikhek sound.
While the aforementioned guest Michel Morley is notable in his own right, and joined by Gabie Strong and Christopher Reid Martin on the two minutes of ‘Crying Jar’, the work is primarily by Harris, who alternates between steepled choral harmonies and long, plangent sections of gristly synth drone, spindly guitar and instrumental, melodic percussion (maybe marimba or gamelan?) that colours the air with a beaten gold quality. In many ways it sounds like Liz was left to her own devices in an abandoned church and she captured the results, as is, Áine O’Dwyer style, replete with external sounds of birdsong, possible distant road traffic and her visiting friends all detectable in the meridian.
For anyone at this point overly familiar with Liz Harris’ style (hands up, obsessives), this album practically opens a new window to her world, letting fresh air and space diffuse her feels into a more elusive, ponderous way that’s as refreshing as it is uncannily familiar, especially when she drops the vocals for long periods, but one can still imagine their trace there, lingering in the air.
'Versions' leaves out the vocal accompaniment and exposes the production as it drifts off into instrumental effervescence...
This second breathtaking CD leaves out the vocal accompaniment and exposes the terryfingly deep Basic Channel production as it drifts off into instrumental effervescance. The hallmarks are all there; Mark Ernestus and Moritz Von Oswald have already set the world ablaze once, twice, three, four times with their work as Basic Channel and the splintering into microscopic, heavyweight offshoots by way of the M series, Main Street, Chain Reaction, Rhythm and Sound and, of course, Burial Mix. It's hard to over-emphasise just how important their music has been to us over the last two decades and, for that matter, just how substantial their impact has had on everything that has taken place in electronic music since.
Following convention, each of these labels has offered a catalogue up on record (in this case 10" releases) before compiling the music. This is, in fact, the second Burial Mix compilation, the first "showcase" concentrating on the label's collaborations with Paul St Hilaire, aka Tikiman, for its opening set of releases. This second installment divides itself into Vocal and Instrumental "Versions" (the Vocal tracks are collected seperately on a second release), displaying the last seven releases in their entirety, plus "Mash Down Babylon" (a new take on "March Down Babylon"), and features a by-now totally classic collection of tracks that in their time have all been singles of the week for us here.
Just thinking of the majestic exuberance of "King in My Empire", or the breathtaking space of "Making Histroy" makes it hard to fathom how this material hasn't really aged a day in all these years...
Unmissable debut from Cairene artist 1127, getting right under the skin with uncanny, semi-organic, abstract electronics comparable to Autechre, Lag Os, or Heith releases
Approaching ‘Tqaseem Mqamat El Haram’ we’re strongly reminded of the idea that “writing about music is like dancing to architecture.” In that sense, the music is sending us breakdancing in Cairo’s dusty flux of multi-period buildings and making us do the splits on a pyramid. It’s just incredibly riddled with richly characterful sounds that are shredded into mind-bending geometries, from convulsive knots of noise to calmer passages inhabited with Arabic voices and powerfully rhythm-driven bits spitting strange vocaloid artefacts. To our mucky ears It all evokes the feel of a Neil Blomkamp flick shot in Cairo 2050, where stifling heat and pollution means everyone wears breathing apparatus and hover cars sputter about its dusty sprawl.
‘Fireburn the Bloodlot’ commits crenellated walls of guitar noise by CM Von Hausswolff and Joachim Nordwall under their Sins For Beginners alias for avant-garde powerhouse, iDEAL
Mantled after a phrase Richard Kern graffitied on the bathroom wall of Hausswolff’s Lower East Side apartment in the late ‘80s, ‘Fireburn the Bloodlot’ dispatches a pair of unrelenting and incendiary exercises in amp worship and FX-mutilated electric guitars - which is perhaps not what one might expect from these masters of the oscillator.
Unflinchingly recorded by Linus Andersson (Goat, The Skull Defekts, The Leather Nun), the music surely warrants comparisons with Glenn Branca’s massed armies of strings, or Sunn 0))) at their crankiest, but it’s simply a swaggering swell of pure, white hot evil destined to get under the skin of fans of all kinds of extreme metal, drone and noise.
Troops, the wait is over for Ancient Methods’ debut album with ‘The Jerihco Records’, a 14-track set bristling with vocals by Prurient, Cindytalk, King Dude and Wahiba Khadri, and guest production from Regis and Orphx
For pretty much the first time we really hear Michael Wollenhaupt a.k.a the sole serving member of Ancient Methods really stretch his legs in all directions, with results ultimately ranking as perhaps the definitive industrial techno album of its generation.
Biblical in concept and scale, ‘The Jericho Records’ takes the world’s oldest, longest inhabited city as muse for a incredible showcase of futurist/primitive rhythm and sound, melding Michael’s trademark so-stiff-it’s-fuucking-funky-as-fuck drum patterns with a much broader range of instrumentation and voices than any previous AM release.
To get down to business, DJs and dancers need to clock the highlights in the cataclysmic shock of ‘Twelve Stones to Divide Jordan’s Sand’, as well as the bare-faced rage of ‘The House of Rahab’, the searing ‘Crack and Collapse In The Storm of Lights’, and the incendiary payload of ‘Omen’s Duty’ or the appearance of Prurient on the trampling thunder of ‘Walking on Cursed Soil’.
But we’d be remiss to overlook the moments of contrast in the Arabic EBM mutation of ‘Array The Troops’ featuring synths from Regis; the Muslimgauze-like meld of whirling percussion and horns in ‘The City Awakes’; or the clashing scimitars of ‘Swordplay’; while ‘The Seven Shofars’ and ‘In Silence’ impressively attest to AM’s unrepentant obsession with darkest, ritual ambient electronics.
Just hoof it all down and ask questions later.
With incredible tactility and nuance Nicola Ratti (Bellows) evokes odd, bittersweet sensations and stimulates the proprioceptive senses in his definitive new solo opus for Students of Decay.
As usual Ratti gets the most out of minimal input on ‘Continental’, but where his previous string of LPs up to and including 2017’s ‘The Collection’ were defined by their austerity, his music now feels more expansive, sensuous, and subtly illuminated. It was conceived of by Ratti as a “series of big rooms or places to get lost in, full of small details and characterized each by a single flavor or perfume” and we can vouch the fact that he’s beautifully achieved his aim within.
The album’s eight tracks tease the listener’s sense of anticipation and orientation with an uncanny, calmly psychedelic potential perhaps equivalent to the effect of microdosing or jetlag. Entering the gates of ‘Palace’ he comes off like K. Leimer playing in the official residence of Rashad Becker’s Notional Species, and continues to work inside that imagined aesthetic between glassy geometries also recalling the quietest side of Sote in ’nº1’, while ’nº2’ suggests an electro-acoustic simulation of Japanese gaga or Korean classical court styles, and ’nº7’ comms off like Bellows at the beach. However the Lp’s trippiest highlight is reserved to ‘Cuarto’, where a quualude-loaded Dale Cornish drawls over non-Newtonian bass texture and tart harmonic fumes, before ’nº8’ melts and tootles like a semi-organic Pierre Bastien creation left to shrivel and curdle in the sun.
It’s the most satisfying stuff, a real eight course taster platter for the ear.
Dozzy reworks a highlight of his ’Sintetizzatrice’ album alongside a remix previewing his forthcoming album for Lorenzo Senni’s Presto!?
On the rework of ‘Parola’ he turns Anna Caragnano’s vocal into a mesmerising rhythmic mantra syncopated with rolling drum machine groove in masterful style, while his floating prog-house/trance remix of ‘12H.5’ gives some taste of what to expect from his upcoming LP for Senni’s label.
Salty, playful jaxx from bassbin prancer Mickey Pearce, chasing up his ‘One Hundred Smiles’ LP
While it’s probably not a prerequisite for joining the Accidental family, Pearce does sound a lot like Matthew Herbert with the loopy drums of ‘Smelling Incense’, albeit more chaotic and nutty, whereas ‘Dig Me Up’ is more atypical of his style, lurking on the edge of UKF and garage and lit with dippy lead, and ‘Reflux Stance’ catches him swaggering with tresillo trills and chirruping avian synths in the EP’s slinky, rude highlight. Aces.
Legowelt dons his legendary Gladio robes for a back-to-basics Chi-house and electro session on L.I.E.S.
Last spotted in 2007 wandering near Hadrian’s Wall, Gladio eventually found his way back to his crypt in The Hague where he’s been been busy on these bangers, supplying strong and direct stripes of club gear between the sleepwalking techno slugger ‘Of Hyperborea’, heroic NRG disco themes on ‘Olympus Panspermia’, and class electro shifters in the pacy push of ‘De Astra Planeti’ and a scuzzy punch called ‘Fist Of Gladio.’
'Signals Bulletin' is the new album from Jan Jelinek, made in collaboration with Japanese organist Asuna aka Naoyuki Arashi. It’s vintage Jelinek; immersive scapes fizzing with colour, anchored by determined organ drones, primed for achieving bliissful, contemplative equilibrium.
"Watching the Japanese sound artist Asuna playing the organ, some people might be surprised. Asuna is no virtuoso flying over the keyboard in a rage. Instead, with the calm gestures of an office worker, he cuts strips of adhesive tape to the correct length before sticking them onto the keys of his instrument. In this way, large clusters of keys are held down, creating a dense and sustained range of frequencies, while the sound artist continually prepares further sets of keys or removes tape again. I have rarely seen a more convincing performance concept, with such a power to fascinate.
I first met Asuna when we both gave a concert at the 21st Century Museum of Contemporary Art in Kanazawa, his home city. He performed the organ drones as described above and I immediately knew I wanted to collaborate with him. Six years and five meetings later, we completed 'Signals Bulletin'. The album includes both joint improvisations and compositions, recorded in Berlin, Kanazawa and Kyoto.
Whether using prepared organ, Casio keyboards or mechanical plastic toys, Asuna creates rich textures of sound that barely change over long stretches of time. It is a music without breaks. For a while, I was unsure how my loops made using modular synthesizers and live sampling fitted here – until I realized the role I had to take in this duet: I would provide the rhythmically pulsating foundation over which his dense continuums could unfold.
The result is harmonically drifting superclusters that put us into a meditation-like state. It can perhaps be compared to Automatic Writing – a mode of creative expression floating somewhere between concentration and distraction. Both the structure of our pieces and our approach to our instruments allow a similar “absence”: we let the machines play and repeat themselves – while we, in a mild form of trance, adopt the role of observers, intervening only occasionally.
It is no coincidence that Asuna owns a collection of Doodle Art – drawings jotted down during conversations or while talking on the phone. It is said that works made like this point to the unconscious and reveal pet motifs – because a doodler always inadvertently returns to his or her favourite themes. The artwork for Signals Bulletin features pictures from the collection, in this case sheets of paper from the pads provided in stationery shops to test out pens. The special quality of such doodles is that the jumble of drawings is the work of a collective whose individual members do not know each other. Layer by layer is added, by someone different each time – until it becomes a dense cluster of lines and symbols ..."
Jan Jelinek, Berlin 2018
Reissue of killer Clock DVA-related gear from Adi Newton’s industrial dance project TAGC, including two exclusive Richard H. Kirk remixes, freshly dubbed by Newton
Perhaps best known for the extended 12” mix of saucy classic ‘Big Sex’ - included in its original form here - TAGC were extant between mid ‘80s and mid ‘90s, when this Side Effects compilation marked their departure with a collection of highlights from 1985’s ‘Ha - Zulu’ EP, 1986’s ’ShT’ mini album, 1987’s ‘Big Sex’ 12”, and 1989’s ‘Broadcast Test’.
It’s worth checking for the Cabs or 23 Skidoo-esque industrial-funk fusion of ‘Zulu’, then the grim cut-up collage of ‘Further & Evident Meanings’ and the cold dubbing of ‘New Upheavil’ off ’ShT’, and the prickly electro oddity of ‘Broadcast Transmission 1.’ We’d probably advise tracking down the ‘Big Sex’ 12” for a better, longer version of that cut, and Adi Newton round things up nicely with a slippery, extended dub of RHK’s ‘Zulu’ remix.
Late-running UKF player KG links with Scratcha DVA on a lush redraw of the now classic late ‘00s style
In early 2018 KG made a scorching debut for Goon Club Allstars with ‘808’, a track she made during the original UKF era circa 2008-9. 18 months later she’s back with sets of bangers alongside Hyperdub don Scratcha DVA, cooking up the simmering deep Funk dish ‘Touch’ with nods to Cooly G’s R&G vocal touches, whereas ‘Strings Of Death’ draws from both grime and Gqom in Scratcha’s DRMTRX fashion, and ‘Baga Drmz’ wedges a snippet of KG’s ‘808’ zinger into a proper, bolshy hybrid of Zulu Gqom trample and rude UK flavours.
Perhaps best of all is the feminine pressure of ‘Touch (Reprise)’, where they strip out loads of the original to leave a thizzing, weightless, mid-air beauty.
New on Touch; a first vinyl edition of ’There Where The Avalanche Stops’, a compilation of indigenous folk styles recorded at the National Folk Festival of Albania in 1990 and originally issued on CD
Revealing a spectra of folk styles to the vast majority of us who have never visited the quinquennial folk festival, held in a castle overlooking the town of Gjirokastra in southern Albania, the set speaks to the remarkable breadth of unique instruments and styles native to the region since ancient Iliryrian times (pre-Roman).
It’s a truly enchanting collection presenting selections from six of the 26 participatign districts - Vlora, Gjirokastra and Lorca from the south, and Shkodra, Debra and Tropoja from the north - and covering a gamut from spine-freezing, elegiac, layered vocal harmonies to bouzouki-sounding strings and flutes, and pinch-yourself scenes of pastoral bliss in the ‘Untitled Melody’ piece that is worth the price of entry alone.
Can’t afford a holiday this year? This LP will surely suffice.
Pittsburg’s deep techno maestro Shawn Rudiman sets his sights on night skies with ‘Autonomic Pilot’ for Tresor
Bending cues from classic Detroit to Berlin with signature finesse, Rudiman covers all bases between the club ‘floor and your bedroom floor inside, sweeping from fine-grained but grand ambient electro structures in KNSR’ and the wide-open, pendulous motion of ‘Too Far Gone’ to a sleek but tuff acid-electro piece ‘Erotique Feedback’ on the front, before taking in the Schulzian synth licks of ‘Past The Edge’ along with the glistening, harmonised techno pressure of ‘Eyes Forward’ and a sublime nod to Derrick May & Carl Craig’s ‘Relics’ interludes in the synth pads of ‘Backwards Tomarrows.’
Raw and original house music from Mix Mup, leading on from his MM/KM link-ups with Kassem Mosse
Up top he herds the Detroit-modelled hustle of ‘Clear Drive’ with its wooden kicks and recursive FX opening out into lush synth pads and rude bassline, whereas ‘Flair’ is all about gritty, hypnotic motion in a Marcellus Pittmann or Howard Thomas style, and the B-side’s ‘Pa Toppen’ puts some strut in your pipe.
Exceptionally skewed, killer and asymmetric dancehall mutations from the same label that gave us that amazing Paradon’t EP a couple of years back, this one sounding like the missing link between Demdike Stare, Schaffel and Slikback 🔥
"'No idea how to categorise this! I would have called it experimental dancehall but irel.ier who made it says it’s not! Besides i don’t care how you call it - it bangs! When I played it out in Pudel (Hamburg) people were losing their shit and someone screamed in my bleeding ear “MASTERPIECE!!” so let’s just call it that!
We made 300 copies. They feature a beautiful image of your inner ear Haeckelified by some naive AI and the title (gang guan li) skilfully handwritten in Chinese calligraphy on the flip in iridescent colours.'"
Highly sprung disco ballistics from Tilburg’s Ben Penn, serving up your RDA of synth-dripping funk on Young Marco’s Safe Trip label outta Amsterdam - home to those excellent compilations of Italian Dream House 89-93 .
Sounding for all intents and purposes like a long-lost gem dusted down from an attic in Suriname or Nigeria c.1983, both cuts demonstrate a reel mastery and sensitivity to analog machinery and recording techniques that will soon d amazing on proper sound systems, inside proper discos.
Spare Hobby catches him gliding at full wingspan with vocoders, bouncing bassline, organ vamps and fizzing disco drums like some newly discovered Francis Bebey beauty - party guaranteed, we tell ya - before Carrera really gears up with revving bass work balancing the fancy, Italianate plumage of his Siel Orchestra 2, Korg Micro-Preset, and Korg R3 synth bursts.
This is f×cking amazing - a second volume of desolate, ambient themes from David Lynch’s sound designer and mixer of choice Dean Hurley, one of those behind-the-scenes guys whose work most subtly colours the popular imagination. If you’re into anything from Deathprod to Badalamenti to Mica Levi’s 'Under the Skin’, the more ascetic end of work from Leyland Kirby / The Caretaker, or Aphex Twin’s ’Selected Ambient Works Vol II” - this will rule your world.
Having operated and managed David Lynch’s Asymmetrical sound Studio for 13 years, Dean Hurley only appeared on our radar a couple of years ago with his sound design for the third season of Twin Peaks, and the first volume of his Anthology Resource which collected some of that work. During those 13 years - a period that began just before ‘Inland Empire’ - Hurley was basically there to create, mix and edit any sound artefacts Lynch required - a process that evidently allowed him the freedom to innovate through pretty much limitless experimentation. As a result, Hurley is now without question one of the most striking sound designers and supervisors working in film & television right now, steering well clear of overly emotive/manipulative cliche and instead focusing on the minutiae of sound in a way thay recalls the classic, pre-digital era.
His Anthology Resource is an ongoing series curated from his work for film and television in the library / production music tradition, as well as a series of albums in their own right, with this second volume 'Philosophy of Beyond’ collecting 12 pieces made in residency for Art Gallery of New South Wales’ event Masters of Modern Sound, and contributions to Eddie Alcazar's feature film ‘Perfect’ - mostly assembled from tape loops and field recordings.
While it’s fair enough to wheel out a usual list of ambient/atmospheric comparisons with ‘SAW II’, Brian Eno, Leyland Kirby, and indeed David Lynch’s own early work with Badalamenti, that’s really just to show what class Hurley is operating in - his music clearly possessing its own, menacing magick that stays with you long after the music has stopped, just like the imagery he is so highly adept at scoring.
‘Dragon Wave’ is a slo-mo tribal tripper from Amsterdam’s Dazion, b/w the beautiful, aghivering figure of ‘VX LTD’, which sounds like it got separated from AFX’s SAW 85-92 sessions and somehow turned up in Holland 25 years later
“Urgent: it has come to our attention that the Safe Trip organisation has taken to the water in a bid to spread their coded musical messages far and wide. We understand that they have recruited young operative known as Dazion, a keen windsurfer, to develop a method of broadcasting their addictive and mind-altering musical missives wherever there is a suitable body of water.
Our operatives tracked Dazion to a remote spot on the dutch coast, where he was spotted trialling this new technology with his favoured F2 dragon board. As he rode the choppy waves, we were able to detect and record rhythmical electronic music emanating from the board itself. we enclose this recording, which features the kind of tribalistic, delay-laden drums, swelling electronics and exotic melodic refrains that are known to inspire frenzied dancing in members of the public. we have christened this recording “dragon wave”.
After exiting the water, Dazion packed up his top-secret windsurfing technology and drove to a backstreet address in a quiet area of Amsterdam. There, in a light industrial unit, he continued to tinker with the technology, testing it out by broadcasting another musical composition. this was more poignant and melancholic in tone, utilising spacey electronic melodies, gently bobbing chords, heart-aching guitar flourishes and a tough but broken rhythm track. the recording – code name “VX Ltd” – had a huge impact on us emotionally and even reduced one operative to tears.
It is our belief that the Safe Trip organisation will only increase in strength with Dazion’s involvement. We recommend watching the waves and winds intently for further developments.”
Quick on the heels of his last 12” with Young Marco’s Safe Trip, Darling blesses the label with two nimble electro beauties here
Loosely working around the groove with latinate suss in the lush swerve of Sim and locking off some superb, whirring electro syncopations and chirruping alien voices in Moon Fleet.
Young Marco and his pal edit a 1989 Dutch hip-house version of Harry Belafonte and co’s ‘Day-O’
As you might expect from that line above, it’s primed for the party in both the chunky ‘Past Fire Edit’ and a ‘Past Fire Dub’ if you’re trying to play it cool.
Darling coughs up the light-footed 1st of 2 new 12”s for Young Marco’s Safe Trip, chasing the vibes of his début for Voyage Direct and the JPS session into frothiest headspace.
When She Hates Me rolls out on a lissom, uptempo flex with nimble arps and spumes of cosmic melody fixed to an effortlessly cantering groove. On the other hand, Isle Of Red works out an adroit, percolated sort of Afro-techno chiming with avian thumb piano melodies and beautifully melancholic chord developments sure to get the ‘floor in a lush lather.
Selections from 100 Models of Hegikan Roku is the second in an ongoing series of archival records of the unheard music of Swedish composer, philosopher, poet, mathematician, and visual artist Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows last year’s Selected Early Keyboard Works and coincides with Blank Forms’ publication of Poësy Matters and Other Matters, a two-volume collection of Hennix’s writing.
"Upon her return to Sweden from New York in 1971, Hennix sought to form a large ensemble inspired by her encounters with La Monte Young and recordings by the Theatre of Eternal Music. She enlisted her brother Peter Hennix, Hans Isgren, and a dozen Swedish jazz musicians she had previously worked with, naming the group and its pieces of music after the time and days of the week according to the Angus Maclise calendar (e.g. “The Pointed Time Bus”). Frustrated with the jazz musicians’ inability to comprehend and play the intervals of just intonation, she pared the group down to the trio of herself, her brother, and Isgren and christened the live-electronic ensemble The Deontic Miracle.
In 1976 The Deontic Miracle performed Hennix’s original compositions, alongside works by La Monte Young, Terry Riley, and Terry Jennings, as part of Brouwer’s Lattice at the Moderna Museet in Stockholm. With Hennix on amplified Renaissance oboe, live electronics, and sine wave generators, her brother on amplified Renaissance oboe, and Isgren on amplified sarangi, the recordings presented here of the group’s first and only public concert see them channeling late period John Coltrane and the sopranino and soprano saxophone playing of La Monte Young and Terry Jennings in the Theatre of Eternal Music. With titles taken from Japanese Gagaku, “Music of Auspi- cious Clouds” and “Waves of the Blue Sea” are expansive drone improvisations, breathing with the pulsating lull of cicadas’ organic sonic latticework. Now accessible for the first time, these recordings by what Hennix has called “the most rejected band ever formed in Sweden” continue to fill gaps of silence from a figure whose work has until re- cently remained flickering at the margins of some of the most enduring cultural developments of the 20th century.
Catherine Christer Hennix (b. 1948) started her creative career playing drums with her older brother Peter grow- ing up in Sweden where she saw jazz luminaries such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform at the Golden Circle. Directly after high school, Hennix went to work at Stockholm’s pi- oneering Elektronmusikstudion (EMS), where she helped develop early synthesizer and tape music. After traveling to New York In 1968, she met Fluxus artists Dick Higgins and Alison Knowles and developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath, and she would later study intensively under him. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage. She currently resides in Berlin, Germany, where she is active as a composer and writer."
Young Marco Sterk looks to his distant roots in Indonesia on 2nd LP ‘Bahasa’, a typically sweet-natured and breezy collection of ambient tradewinds and colourful rhythmic plumage, assisted by input from Mike Kivits (Aardvark) and Jonny Nash and The Desa Babakan Gamelan Ensemble
“In 2014 Young Marco travelled to the islands of Indonesia, visiting several islands within the archipelago including Bali. The voyage was on invitation by Island of the Gods Records; allowing Marco to immerse himself in the Indigenous culture that still exists in Indonesia. For Marco it was also a look back to his Indonesian roots, with his late grandfather born and raised in Indonesia. The brief was to capture the spirit, ambience and atmosphere of the islands as part of the labels ‘Island Explorer’ album series.
The project embodies the ‘east meets west’ approach the label has become known for in regards to cultures colliding. A respectful collaboration between local musicians who have played to their gods, unchanged in thousands of years alongside Marco’s contemporary expression. They are connected only through the universal language of sound and a mutual willingness to collaborate and experiment.”
Young Marco’s Safe Trip follow their dispatch of Japanese siblings Satoshi & Makoto’s CZ-5000 Sounds & Sequences with an unexpected pair of stepping, driving, melodic house tracks.
In a Corner of Asia unfurls a coiled stripe of firm 4/4 donks and wheezing organ melodies that sounds like it was put down live and direct to tape any time between 1990 and now.
Tous Les Jours is one for fans of Stinson/Donald’s more debonaire electro-house jaunts, authentically tending to their Japanese electronics setup with a clarity and melodic touch that originally inspired a lot of Detroit guys and can also be heard in the floating minimalist structures of Shinichi Atobe.
Purple Mountains is the new nom-de-rock of David Berman, formerly of Silver Jews (whose classic run was made somehow finite in 2009, when the voice himself, David Berman, announced his retirement from music).
"‘Purple Mountains’ is also the name of what will be known as one of his greatest albums - full of double-jointed witand wisdom, up to the neck in his special recipe of handcrafted country-rock joys and sorrows that sing legendary in cracked and broken hearts. The songs areproduced impeccably by Woods’ Jarvis Taveniere and Jeremy Earle, buffed up like a hardwood floor ready to be well-trod upon for an evening of romance and dance.
The songs of Purple Mountains are a potent brew, stitched together from lifetimes, knitting the drift of the years with the tightest lyric construction Berman’s ever attempted. Honesty is archly in the air but lines of incredible bleakness somehow give way to playful distraction and the hiding of surprises for close listeners. Even still, as the songwriter once wrote, “every single thought is like a punch in the face.” It won’t take long after slapping the record on the platter for you to hear that this is one of those albums.
There are breakup records. There are apocalypse records. Then there’s ‘Purple Mountains’. Berman’s songwriter’s bone’s never been laid more bare - if redemption doesn’t come on the lyric sheet, the act of putting these songs into singing, dancing form allows them their finest end - to provide infotainment for others, embodying moments of life and truth via music that elevates with disarming warmth and a reassuring commonality, even as David himself stands outside the communal campfires."
The ‘Lineage’ EP is dBridge’s soundtrack for his photography book of the same name. Nostalgic and futuristic, the music ranges from absorbing ambient to experimental techniness, and fits the theme which emerges from the book; looking back on FWD-looking friends and family from the UK and international bass scene
“dBridge: "Photography has become the creative outlet I needed in my life, it has no expectations of me, as any hobby rightly should. I'm still in my infancy with it and I have a few different cameras but the one I'm drawn to the most is the instant photo format. Its permanence appeals to me, there's no going back, no adding unnecessary filters and repeating until you get it right. It captures a moment; warts and all.
"I'm lucky as I'm in a unique position to be able to get closer than most to my fellow music makers and listeners and point a lens into their world. Over the years I've amassed a fair amount of pictures and I often take a moment to enjoy the memories they conjure up. It dawned on me that what had started out as a photographic collection of the people I met whilst travelling through music was forming a unified image of the Bass music scene, images of the people around me who had helped shape it and are a part of its lineage. This book is a small collection of some of those people, friends and more importantly; family."
Gritty house throbs and flinty breakbeat steppers from Cop Envy, working deeper into styles found on their 12”s for Black Opal, Templar Sound and Cry Baby Records
‘Cotton’ lays thick bass hustle for lilting breaks seemingly lifted from Carl Craig’s edit of The Congos; ‘Rat Break’ leans into darker space lit with with sparking breaks and streaking rave duppies; ‘Low Air’ yokes back to a UKBass swivel a la Paleman or Pearson Sound; and ‘Junk Bass’ trades in deep robotic 2-step funk - think slowed down No U-Turn vibes.
Restlessly shapeshifting composer Marc Richter turns out his 2nd album of the year already for Thrill Jockey with a further study in gurning dissonance following from the smeared brass and unearthly churn of ’Seven Horses For Seven Kings’
“Black To Comm masterfully manipulates sound, his alterations rendering sources unidentifiable and serving as a sort of portal to new realities. Composer Marc Richter collapses the past, present and future of recorded music into kaleidoscopic pieces that transcend genre, bristling with detail: an intense sensory sonic experience. Before After charts a hallucinogenic journey through polar extremes of emotion and to the outer reaches of sound, is a perfect companion to the darker Seven Horses For Seven Kings.
Richter’s technical approach to making music is deeply rooted in his philosophy of time. He points to a quote from early electronic pioneer Eliane Radigue: "everything is an interval, we are always in-between. And in this interval, between two states, there is a continual expression of invisible variations, imperceptible transitions." Before After exists in that fluid, liminal space, drawing on sounds and influences from disparate pasts and using these to synthesize new futures. “They Said Sleep” applies contemporary studio techniques to ancient material, creating a Chopped ‘n’ Screwed edit of an early medieval folk song. “The Seven Of Horses” expands on the language of Bulgarian Folk by adding abrasive new textures, processing piano sounds through analogue filters. Even Richter’s own material is ripe for reinvention, “Etas-Unis” and “Perfume Sample” both revisit elements of music from Seven Horses For Seven Kings with results that are entirely new and revelatory of the compositional and sound sculpting skills of Richter.
Before After was written during the same sessions that gave birth to Richter’s recent, highly acclaimed, Seven Horses For Seven Kings. The intentionally crafted companion pieces mine similar raw sonic materials to yield radically different results. Where Seven Horses was a dark work focused on anger and desperation, Before After finds faint glimmers of hope in the same sources. By reappraising the past Richter divines new futures, opening up parallel timelines and sonic universes. The album bookends the current phase of Richter’s output as Black To Comm, a decisive statement piece that leaves the future of the project tantalisingly open-ended.”
Puce Mary, Haunter records label head Heith, producer Francesco Leali and cellist Alessandro Branca collude on two tumultuous pieces soaked up in cello-driven ambience, cavernous processing, haunting vocals and futuristic glitch sequences.
"For this first instalment we see the quartet delve deep into the study of dilated repetition counting largely on the use of a 1700’s cello built by Italian lutist Nadotti – breaking down, studying and reassembling it’s output into a meticulous yet unsettling approach.”
Two of the most radical deconstructionists of rave linguistics have teamed up! Roc Jiménez De Cisneros, half of the infamous “computer hoooligan” duo EVOL, and N.M.O. / Lag Os’ Rubén Patiño (himself a member of EVOL for one day), bring on their interest in stripping down and manipulating the basic, most functionalist elements of dance music, playing with their scale with an oddly heuristic approach.
"Hosted by Haunter Records, this collaboration gave birth to GNOMOS, an exercise in weird lattice arrangement. A trippy detour into shifting, unexpected rhythmic pattern alignments that pushes the listener's expectations and potential obsessive-compulsive tendencies. The relentless, skeletal 909 beats that composed these 5 tracks de-territorialize both the structural qualities and the cultural significance of rave tropes, making for a familiar yet totally bewildering listening experience."
Strong debut of new club musick by Tadleeh on Yegorka, the label run by Why Be and Berlin’s Janus incubator
Arriving after wayward work by Oxhy, bod, and Emiranda on Yegorka, Tadleeh plays into the label’s remit with 6 cuts full of meter-shifting rhythms and stark, reverberant atmospheres, with ace drum work in the tribal depression of ‘Kalix’, the Tarraxho slow crush of ‘Virgo?’, and the super wide, lip-bitingly strong bump of ‘Ego Will Collapse.’ We’re not too fussed when he goes big post-rock epic in ‘Believe Me I’m Lying’ and the cinematic finale, but there’s a lot of promise in the strobing, weightless forces of ‘Love Comes To Its Conclusion’ and that killer ‘Ego Will…’ cut.
Tight and tweaky 2-step garage minimalism from Crump, back for another round on Chris Farrell’s Idle Hands
Clocking in two years after the ‘Ice & Spheres’ 12”, the BCN-based Bristolian gets it dead right with the effortlessly curled subbass swing and sparing chord kisses of ‘Charcoal’, before tucking it deep= into a back room vibe with the sub-rolled dub house of ‘Bones’ in a perfectly balanced, endless ‘M5’ style ripe for the DJs and dancers.
The quietly rapturous sublime of ‘Tracing Back The Radiance’ forms Jefre Cantu-Ledesma’s first new album since 2017 and a definitive entry to his golden catalogue,
Leading on from the pop-tight arrangements of ‘On The Echoing Green’, Root-Strata founder Cantu-Ledesma is accompanied on a return to glorious, smudged, widescreen canvasses by esteemed members of the U.S. experimental firmament including Mary Lattimore (Harp), John Also Bennett (Flute), Jonathan Sielaff (Bass Clarinet) and Roger Tellier Craig, among others. In two floating, durational pieces, separated by a pealing five minute ambient flute arrangement, Cantu-Ledesma and pals remind us exactly why we’ve followed his work so intently all these years.
Always a sign of good things is the fact that by 2 minutes into opener ‘Palace Of Time’, we’re fighting the urge to shut eyes and push off, which may look a bit suss at 3pm in an office full of people. However, that’s what we and many others are probably hoping for, and it’s surely delivers as the 20 minute opener flows its course of silvery piano streaks and softened metallic resonances with the warmest sentiment. The intermediary ‘Joy’ is slightly sharper focussed, as though rubbing the ears lense to allow Sielaff’s bass clarinet break the murk in slow, flitting saccades, before ‘Tracing Back The Radiance’ resumes a form of serene sonic therapy with melting sounds and ear-nuzzling timbral complexities which, in turn, relax and harmonise the world around us and make everything more manageable, even if only temporarily.
Karen Gwyer returns to DBA, reenergised and packing some of her tightest drum programming and absorbing, beatless synth arrangements
‘Man On Mountain’ is Karen’s first solo release proper since the ‘Rembo’ LP in 2017, which distilled her deeply rugged hybrid of Detroit techno and AI-style rave to widespread acclaim. Two years later, Karen bounds back with two entrancing examples of her mutant techno style flanked by two rarer excursions into black hole ambient and Carl Craig-like synth scapes that demand to be heard by her keen following.
The colourfully plumed ‘Faces on Ankles’ gets the EP into gear with a deft mix of 2-stepping drums, merry-go-round melody and LFO-style bleep riffs that carries its weight beautifully into a sort of pounding hi-tech folk dance and the cranky black hole ambience of ‘Ian On Fire’. The flipside is then given to ‘Cherries on Shoulders’, demonstrating her livewire hardware intuition at its most fluidly hypnotic, and leading into sleek synth synth churn on ‘Ribbon On Neck’ recalling C2 or Rob Lowe trips.
Schizoid decodance music from Gil on teh excellent Danse Noire, scaling from thunderous flashcore to cinematic sound design, and back.
Three years on from his debut, and following a recent remix of collaborator S S S S for Haunter, ‘Infolding’ places Gil in the immediate, pent and volatile present. ‘Swallow Ash’ sees him erupt into murderous flashcore like Croww on steds, and the mesh of tense tribal rhythms and vocal drones in ‘The Place Of Falling People’ feels like a cue from Akira.
‘Compact Renewal’ also follows in footsteps of Croww with white hot noise and deviated dembow rhythms, whereas ‘Dustgreen’ indulges a moment of loner romance, and ‘Thirty Birds’ brings the curtain down on tortuous, apocalyptic scenes.
The original nuttah meets Adrian Sherwood in a doublet style, fixing the stepping ‘Makumba Rock’ beside the spaced-out skank of ‘Heaven & Hell’
Up top is an extended dubplate version of ‘Makumba Rock’ from the ‘Rainford’ album, featuring Perry’s gargles, hoots and cries woven alongside the lyrics on a charmingly lazy, crazed rockers riddim. Down below, they skank 10 feet wide with the speaker-worrying subs and duppy FX of ‘Heaven & Hell.’
New Age conduit Ariel Kalma’s mid-late ‘70s GRM recordings are set to blow a lot of minds with this deep dive compiled by current GRM audio restoration engineer and Transversales proprietor, Jonathan Fitoussi. Properly unnerving, beautiful proto-Lynchian vibes on this one.
Sourced from a recently excavated box of tapes recorded during late night recording sessions in the GRM’s Studio 116 - the same concrète laboratory used in Bernard Parmegiani and Luc Ferrari masterpieces - this LP delves into some of Kalma’s earliest recordings to provide an enchanting listen and reveal the groundwork that came long before his relatively recent collaborations with mutual, explorative souls Sarah Davachi and Robert Aiki Aubrey Lowe.
The set owes a great debt of gratitude to Kalma’s pal, Jacques Darnis, who was coincidentally the GRM’s recording engineer during the ‘70s. Jacques employed his mate as assistant recording engineer, and would give Kalma a heads-up if the likes of Parmegiani has cancelled their evening booking at the studio, giving him the opportunity to record afterhours in what was one of the greatest facilities in the world at the time. Armed with food, drink and his sax, Kalma would hop in his car, bez over to the studio, and evidently make sterling use of these night time sessions.
Opening with sustained sax looped into etheric infinity on ‘Paris Flight’, the album supplies five distinct but interrelated lines of Kalma’s subconscious thought transmuted into sound. ‘Le soleil au couchant’ finds him layering vocals recorded in the crypt of the Senanque monastery into a shimmering raga-like hymnal, while the LP’s central highlight ‘Voyage au centre de la tête sees Kalma’s companion Paule Salomon whispering, heavy-lidded, over burbling drum machine pulse that turns into a psychedelic wormhole, and the B-side’s couplet of ‘Ballade sure le lac’ and ‘Japanese Dream’ find him gently spiral into the low ends of a Bosendorfer grand piano, then layer the keys with sax in most sublime, effortless style, again making thorough use of the studio’s high end microphones and tape machines.
Ferocious, previously unreleased Masami Akita works produced circa 1994’s ‘Venereology’ and ‘Hole’, now issued by Room 40 to mark the 40th anniversary of Merzbow’s conception.
“In the late 1980s, Masami Akita’s Merzbow began to shift from being a studio project into a fully fledged performative undertaking. It was a decisive period that began opening up new possibilities for his very particular approach to sound.
Across the first half of the 1990s, Merzbow began touring extensively across Europe, the United States and also in his homeland. It was during this period that the dynamism of Merzbow exploded and the physicality of volume became a primary driver for the experiential capacity of the work.
Simultaneously, Merzbow began developing a range of self made instruments and techniques for exploiting found objects as sound sources, which he used in combination with amplifiers to create a unique spectra of noise and feedback both in the studio and live.
Noise Mass catalogues a critical period within the continuum of Merzbow. It typifies the radical approaches he developed not just through his music, but also through mastering, pushing the very medium of digital audio to its limit through extreme post-production approaches.
Of Noise Masami Akita remarks,
“This was around the time Venereology was released from Relapse and the work of Merzbow became more well known to the world. Far greater quantities of that Relapse release were pressed, and much more promotion along with it. In other words, the image of Merzbow's music as it is best known in the world today came from this time. The music of Merzbow has always been a continuum, the piece added this time to Noise Mass, the revised version of Hole, is a work utilising a voice similar in style to Venereology. Listening to both Hole and Venereology, one can appreciate how these works constitute a thread of continuity through this period.”
Noise Mass is just that, a ritual of intensity and ferocity that denotes the force that is Merzbow’s approach to noise in the absolute.”
Deep house standard bearer Simoncino returns to Creme Organization for a deep and slunky session
Listen up for highlights in the percolated pressure of ‘It Up (Original Dub)’, and the killer acidic bass wobbles underlining his pendulous workouts, ‘Una Notte Con Michelle’ and ‘Timezones.’