Cameron Stallones’ Sun Araw at its colourfully charming and psychedelically frazzled best right here. Sounds a bit like hanging out in a Mega Drive game with Sonic and James Ferraro, smoking zoots and getting properly pixellated
"‘Roomboe’, the first track, illustrates this process. Experience is elastic. Humans alive right now tend to think there is some sort of ‘baseline’ experience of a thing, a room, a person, a feeling, some version we all agree on. This isn't true at all: experience is completely dependent on the quality of attention of the experiencer. There is a granularity to experience that, when tuned up, reveals deeper and deeper space inside of things. When you zoom in (by pure observation: by not-articulating, not-thinking), you create ‘room’, you make space. Just like that.
For instance, ‘Roomboe’ has an extremely limited tonal framework; about 9 notes for the main guitar melody. As the guitar pushes against these melodic limitations with continually renewed attention and energy, it begins to create space around itself. And all of the sudden (at about 4:57), out of this constriction, space balloons up from everywhere simultaneously. ‘Roomboe’ is a clue about how to open a portal outwards into free space.
‘78 Sutra’ is about orbital motion. ‘Catalina’ is about taking a walk. ‘Arrambe’ is about a peculiar feeling you can get when you zoom in far enough. The music is offered in a spirit of generosity and adventure; it doesn’t stay put and it keeps zooming in to reveal more and more. The album was recorded live-to-midi with the band and this is the first Sun Araw album recorded like that. That band is Jon Leland on drums and percussion and Marc Riordan on synthesizers and Cameron Stallones on synthesizers and guitar and vocals."
Founded in Lisbon, 2018, Candura is Andre Hencleeday and Pedro Coragem. Their debut recording, "/I", was released through GreySun Records (Portland, OR, USA) in October of the same year. In 2019, the duo presented a new composition live at Galeria Zé dos Bois, Out.Fest, Amplifest and during the closing of Rui Chafes' exhibition "Desenho sem fim (Endless drawing)" at Casa da Cerca. This piece now becomes the duo's second published work, "/II".
"Rui Chafes writes: "Candura is a mountain. It is also a deep forest, full of strobe shadows and dark roots falling from the sky. This music takes us to a pure and untouched space where time has no beginning and no end, a space for the un-born and for the un-dead. Maybe it is a sound coming from an era before the beginning of the world, from the deepness of time. Each concert of Candura is a rough and sharp journey (or a dive) while listening to the noise of blades cutting a feathery silence. During this voyage we remain awake, with maximum attention.
There is no space for rest neither there is for distraction. Here noise is silence and silence is noise. Suddenly, we hear a primordial and archaic howl coming from this distant ice-cold wind, piercing our stunned fragility. Nobody stays on land during this musical piece: Candura uproots people from their positions and takes them to another place. At the end of the concert, everybody feels paralysed, unable to move. Was it a birth? Where did it take us? To the beginning of everything or to the end of everything? Into life's turmoil or into the scaring crackle of death? We will never know. It is a very romantic and terribly positive music, closer to the voice of Nature than to the voice of Man. Maybe between those tumultuous points, between the silence trying to survive and the powerful hurricane that takes everything with it, that is where some inner peace can lay. When this journey comes to an end, we put our feet back on the ground and remain silent, empty of words. Our fragmented bodies have crossed a somber landscape of wreckage, looking for light through the shrapnel. Candura is an inner mountain." – Rui Chafes, Lisbon, Portugal, 1 March 2020"
Lose yourself in the circuitry of the original 1965 Buchla 100 with NYZ (Dave Burraston) as he utilizes Barbara Hero's Lambdoma tuning theories to create two slow, deeply layered, subconscious, organic and meditative compositions.
"David Burraston is an award winning artist/scientist working in the areas of technology and electronic music, operating Noyzelab as an independant art/science music studio since 1981. His experimental arts practice encompasses field recording, landscape-scale sound art, chaos/complexity, practice-based research, sound synthesis and electronic music. He performs, lectures, conducts workshops and creates art installations in Regional NSW and around the world. David also designs and builds sound synthesizers based on his theories of chaos/complexity science.
He was recently interviewed by Bandcamp Daily and The Wire Magazine. David has worked with many diverse collaborators such as Aphex Twin, Chris Watson, Doug Quin, Russell Haswell, Robin Fox, Oren Ambarchi, Sarah Last, Cat Hope, Garry Bradbury, William Barton, Alan Lamb, MIT Media Lab and the Australian Broadcasting Corporation. In 2014 he independently published the legendary "SYROBONKERS!", the most technical and in-depth interview ever given by Aphex Twin."
Avant garde, electro-acoustic pearl from the GRM archive 1981/2017, drawing the ear’s eye into richly illusive fractal patterns with heavily psychedelic effect. The first one is quite uncompromising in its vision, while the later 2nd piece is more naturally textured and absorbing with it...
“FRACTALS (1981), 21’26: Composed at the GMVL from December 1979 to September 1981, this work was commissioned by Fnac. Fractals are mathematical oddities that, when crossing our path, turn the smallest island into an immensity to be explored. FRACTALS is a series of short studies, all based on the same sound source. Seeking in the sound and its very logic a proposal upon which a construction is elaborated, each Fractal remains open and is a mere fragment of itself. FRACTALS, music pieces sculpted in four dimensions, are vast microcosms that can only be inhabited by the mind. Each Fractal can be approached from several angles, far, near, etc. Some can be listened to at different speeds, forwards or backwards.
FRACTALS: amorphous and endless music pieces whose centre is everywhere and circumference nowhere.
Brain Fever (2017), 18'00: Wherever you may be in the forest of South India, the Brain Fever bird, together with the Seven Sisters, literally gets into your head. Whether it be early morning, daytime, or nighttime, amidst the stridulations of insects, its song utterly reflects Indian life: sonorous, noisy, insistent, dense, overcrowded, mobile, swarming, frantic, overheated, deprived of rest and sleep. Brain Fever echoes sonic images caught in the Aurovillian forest, near Pondicherry, and rich fragments of improvisations made in Lyon on analog sound synthesis or feedback devices, the kind I used to do in the first GMVL studios. Brain Fever is dedicated to Sofia Jannok, a musician and sàmi singer.”
Julliard alumnae and artistic director of ACME, the American Contemporary Music Ensemble, Clarice Jensen furnishes FatCat with her third solo LP following her 2018 debut with Miasmah and a single in 2019 for Geographic North.
Aside from her solo work Clarice has played cello on recordings by everyone from Nico Muhly to Matmos, Björk and Max Richter over the past two decades. In ‘The Experience of Repetition as Death’ she sombrely plays up to expectations with the opening piece of stately chamber strings ‘Daily’, but soon expands our presumptions with the transition from Soviet-sounding choral drones to gloriously cinematic organ and strings in ‘Day Tonight’, along with the tension between wide, threatening bass and steepled organ in ‘Metastable’, and the apocalypse-baiting 10-minute breadth of ‘Holy Mother’.
If you’re not into the new minimalism of Kali Malone or Maria W. Horn, for example, this one is sure to fulfil your maximalist wont.
A glimpse behind the curtains of Basil Kirchin’s archive, ‘Everyday Madness’ commits nearly 40 minutes of concrète studio poltergeist and aleatoric psychedelic collage from a true original
The clips will tell you all you need to know, but essentially these are some of Kirchin’s most unhinged, wayward tape experiments, spanning extremely sparse electro-acoustic jazz minimalism (‘Pat’s Pigs’), mind-boggling dream/nightmare collage in a style recalling his amazing ‘Worlds Within Worlds’, and a 20 minute piece of pastoral, spiritual jazz in ‘The Suspended Forth’. Prime Trunk tackle; in their own words “It gets NO BETTER”.
A delight of hypnotic rhythms made of slow minimal percussion, industrial textures, intoxicating drones and repetitive voices that seem to merge from dreams. Everything built by two of the most brilliant industrial music minds: Steven Stapleton and Colin Potter.
"Rock 'n Roll Station began life with Steven Stapleton asking engineer Colin Potter to remix some of the more rhythmic elements of 'Colder Still' from 1992's Thunder Perfect Mind. As Potter gradually warped these sections into weirder and weirder pieces, a new album began to emerge. Potter himself explained it to David Keenan in England’s Hidden Reverse: “What I sometimes did in the studio was to ‘over-use’ effects and processors to totally mutate a piece into something completely different” while Stapleton observed how “it was almost as though telepathic messages were sent over to Colin. [We’d] started an album [together at IC Studio] that was never finished. He [then] sent me some vague mixes, which were just what I had in mind.
So, from that basis, I started putting the album together.” Potter would quickly become a key player in Nurse With Wound’s productions, a position he continues to fulfil to this day. He was first credited as a member on 1992’s Thunder Perfect Mind, a tour-de-force of cold, at times hostile, machined atmospheres, but considers Rock ‘N Roll Station from the following year to still be his favourite. Building on percussion and drone elements, Stapleton and Potter throw in a huge range of bizarre and atmospheric elements: didgeridoos, chanting voices, and their usual selection of unidentifiable sounds. Its strong focus on rhythm was erroneously surmised by some as an attempt to join the then rising electronic dance music scene. But it was Stapleton’s recent obsession with the music of ‘King of the Mambo’ Pérez Prado that was beating at the heart of Rock N’ Roll Station’s heady rhythms.
The album’s title alluded to two specifically rock-related stations of influence: the song of the same name by Jac Berrocal, of which a surprisingly straight cover opens the album in homage; and the tragic life of the Sixties British R&B organist Graham Bond who influenced bands such as Deep Purple and Cream. Beset by mental health problems (at one point believing he was the son of Aleister Crowley), Bond died under a train at a Tube station in 1989 and it is this tragic scene that Rock ‘n Roll Station’s closing track, ‘Finsbury Park, May 8th, 1:35 PM (I'll See You In Another World)’, sets in sound. "This album arrived somewhere after a dream meeting of several individuals, Graham Bond, Joe Meek, Jacques Berrocal and myself. After a few beers and a heated disscussion of puncture repair we all lay down in a circle and point our penises at Venus, telepathic messages are sent out to Colin saying he can use the two golden microphones. He did, and here we are." Steven Stapleton, 17.1.94.
Utterly spellbinding works for a custom-built pipe organ from Japanese sound artist Fujita Yosuke - unmissable for fans of Kali Malone, Eleh, BoC, Áine O’Dwyer, Yoshi Wada...
In the works for a decade, ‘iki’ is a unique release from nose to tail. It features FUJI||||||||||TA’s first recordings in nine years, over which time he’s got to grips with a self-built pipe organ that he crafted in 2009. The unique instrument features only 11 pipes, has no keyboard, and is powered by an air pump called “fuigo” based on a traditional blacksmith’s model. Its sound is simply enchanting, and sensitively brought to life by the artist, who has evidently spent his time well in taming the instrument and bringing out its sublime, warbling harmonic and timbral qualities.
The overarching influence for ‘iki’ is traditional Japanese gagaku, the slow and elegant form of classical court music extant since the 7th century. In this context, FUJI||||||||||TA’s four pieces unfold with a graceful, if abstracted logic, imaginatively expressing a sound that one could easily imagine mirrored by graceful movements on stage, or enacted by much more phantasmic, anime creatures in the mind’s eye for that matter.
Within the first minute of ’keshiki’ our eyelids are drawn to half mast and we’re drawn into an impossibly fragile and serene headspace as FUJI||||||||||TA gently coaxes out melodic figures over a long, sustained base note while the gentle clack of his pump appears to resemble a knackered butterfly beating its wings for the last times. With ‘nNami’ the instrument’s capacity for beating low end frequencies really comes into view in a way recalling Eleh’s electronically generated wonders - but trust there’s no electricity involved here! - resulting some dead uncanny harmonic chaos, and ultimately ‘osoi’, which sounds something like a BoC synth pad slowed down and recreated acoustically, also pulls the same trick on the ear to sublime effect, whereas ’sukima’ perhaps resembles organ music in its most classic, melodic form, but in a way as familiar as a fleeting dream.
Totally gorgeous release. A must check!
Nour Mobarak: voice and FX. Bana Haffar: modular synthesizer. Mastered by Juliette Amoroso. Illustration: Nour Mobarak. This cassette tape is a document of two live performances by the Haffar/Mobarak duo. Their mutual pleasure in variable tunings, granular synthesis, and structured improvisations shaped their collaboration.
"A lifelong expatriate, Bana Haffar was born in Saudi Arabia in 1987 and spent much of her childhood in the GCC. Through her switch from 10 years of electric bass to modular synthesizers in 2014, Bana is attempting to dismantle years of institutional "conditioning" in traditional systems of music theory and performance. She is interested in exploring sonic disintegration and coalescence into new forms and synthesized experiences.
Nour Mobarak (Lebanese-American, born 1985 in Cairo, Egypt) is an artist working with writing, music, performance, sculpture, and film making. Performances include the Hammer Museum, Los Angeles; Miguel Abreu Gallery, New York; Museum of Contemporary Art, San Diego; Stadslimeit, Antwerp; Cafe OTO, London, and Cambridge University, Cambridge; among others. Mobarak has participated in exhibitions at Miguel Abreu Gallery, Cubitt Gallery, Rodeo, Taaffe Place, LAXART. Her writings have been published by De Appel/F.R. David, The Claudius App, and The Salzburg Review among others. Her music has been released by Ultra Eczema (Antwerp) and Recital (Los Angeles)."
The life recordings on this tape are raw, unedited transfers from Dungeness by Simon Fisher Turner made with a Sony Walkman Professional WM-D6.
With the voice of Derek Jarman recorded on 20 June 1992 in his cottage as he begins to write "Chroma", and sounds from around the nuclear power station in the fifth corner at the end of the globe.
London’s Kouslin dances around the 100bpm mark in a class batch for Peverelist’s Livity Sound.
Anchored in dancehall and reggaeton’s Afro-Latin tresillo drum patterns, the four tracks of the ‘2020 Vision’ EP are roughed up with warped UK vibes in each part, turning from the acidic drunken master stagger of ‘Sharper’, to the floating bass pressure, stinging drum and lysergic ’tronics of ‘2020 Vision’, and over into a class, cranky nod to Labour firebrand Dennis Skinner in ‘The Beast Of Bolsover’, while ‘Ice’ wraps up with a scuffed sort of ambient dembow hustle.
Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2019. Layout: Stephen O'Malley, Photos: Lasklo Ruszka, Executive Production: Peter Rehberg...
Violostries (1963/64), 16'39
"Premiered and recorded in April 1965 at the Royan Festival - France, by Devy Erlih (violin) & Bernard Parmegiani (sound projection). Violostries represents the intersection of several musical research directions, presented as two simultaneous dialogues - composer/performer and instrument/orchestra. After a short introduction tutti very spatialized: 1. Pulsion/Miroirs: multiplied by itself, the violin is projected into the four corners of the sound space. 2. Jeu de cellules: concertante piece for violin and audio medium, the latter being made up of very tightly woven microsounds. 3. Végétal: slow and invisible development following a continuous time, resulting from an internal and permanent processing of the matter.
Capture éphémère (1967, 1988 version), 11'48
This work was composed in four tracks in 1967 for quadraphonic diffusion. Remixed in stereo in 1988. Premiered at the Studio 105 of the Maison de la Radio, Paris, May 1967. Sounds - noises that circulate as time unfolds - continue to exist despite our recording them. Breaths, fluttering wings: ephemeral microsonic sounds streaking space, sound scratches, landslides, bounces, vertigo of solid objects falling into an abyssal void, multiple snapshots forever frozen in their fall. As many symbols leave inside us the permanent trace of their ephemeral brushing against our ear. Some day, a desert, a sound, then never again.... Somewhere, in my head and body something still resonates... resonance, what could be more ephemeral.
La Roue Ferris (1971), 10'45
Premiered at the Festival des chantiers navals, Menton, on August 26, 1971. Sound projection: Bernard Parmegiani. La Roue Ferris (Ferris wheel) spins, merging with its own resonance, stubbornly perpetuating its variations. It only sketches a regularly evolving movement around a constant axis. Each of its towers generates thick sonic layers that penetrate each other, producing a very fluid interweaving. The crackling of the origin eventually metamorphoses into sonic threads whose lightness recalls highaltitude clouds, cirrus clouds, haunted by the cries of swifts twirling in the warm air. The wondrous arises and dies off, leaving us with an illusion of duration."
Belgium’s D.C. Salas brings some tuff new beat/Italo/Chicago acid grit to Eclair Fifi’s River Rapid label following turns by Afrodeutsche and UR’s Santiago Salazar.
The four trax of ‘RR03’ are Salas’ first since his 2017 album ‘The Unspoken’. He gets firmly into gear with the strutting late ‘80s Eurobeat of ’Tropical Weirdness’ demonstrating his serious synth prowess in its biting point leads, before ‘Lealtad’ craftily pulls the tempo down from a jacking 116bpm to a crawl before the halfway point, then builds back up to a viscous tropical chug. On the flipside it’s time for a bit of darkroom peacockery with the big bootied heft and sleaze of ‘Give Up’, while the swingeing 303 lines of ‘Sentimental Overdrive’ recall Belgian hero Ro Maron at his chewy best.
BAKK draw a spellbinding cinematic suite from Cucina Povera and Haron on their latest Plafond split
In the wake of splits from Zoë McPherson & Rupert Clervaux, and All Strauss / Oceanic, Legowelt | SFV Acid, Haron returns to the series alongside Glasgow-based Cucina Povera for a three part collaboration of hushed hymnals modulated with domestic noise, field recordings and ghostly chamber arrangements.
They’re backed with two respective solo compositions that see Haron inhabit etheric space akin to Suzanne Kraft, while Cucina Povera uses her modest ingredients sparingly in the glosslalic murmurs and cloistered hush of ‘Ajatus’, a real standout in her precious catalogue.
Unmissable UK drill mixtape from Big Scraps, a keen scene observer presenting his critical and almost documdrama-style take on proceedings from the gulliest side of rap music in 2020.
After two rapidly sold-out releases from Tom Boogizm, Shotta Tapes hand over to Big Scraps for 69 minutes of prime cold cuts from the UK drill scene, mostly ripped off YouTube and Pornhub, in a canny survey of the now-notorious style which emerged in London at the back of the last decade in response to the hard new rap sound coined by Chicago’s Chief Keef back in 2012.
On ‘Now That’s What I Call Drill’ your guy Big Scraps takes a cold hard look at the scene with no filters but plenty of overdubs, arranging UK drill’s frankly terrifying, often controversial, yet transfixing tales of hood life reality into a uniquely gripping sort of noirish narrative or feature that faithfully, unflinchingly highlights the sound at its rawest, realest and most effective.
Rather than a mixtape-as-in-album, or a “club” or radio mix, Big Scraps’ mixtape rudely goes all the way on the layered arrangement, using sampled news reports on knife crime, looping up the songs’ faux-baroque intros, and overdubbing with idents, incessant sirens and horns to keep a low-key but palpable cadence of tension between the tunes’ variable bitrates that practically portrays their mix of postcode-war reportage, hyper-violent fiction, and deep-fried crud life with the skill of a docudrama editor and director more than your regular DJ mix.
Hypnotically transitioning between drill’s slower, doomiest styles and aggy mutations that echo the coldest grime and jungle as much as US sounds, ‘Now That’s What I Call Drill’ has the balls to call it and add their own, respectfully distanced perspective on the undisputed heavy and darkside sound of England’s young, urban population right now. It’s another 100% killer collectible from Manny’s Shotta Tapes - the most reliable mixtape dealer on road right now.
Few do cinematic sorrow quite like Poland’s Jacaszek and ‘Music For Film’ spans 20 years of his bleakest, most seductively sad and spectral works for film in 10 pieces that patently make for a beautiful album.
Epitomising a certain, haunted nature and emotive clout we’d associate with soundtracks for bleak Polish and Eastern European cinema, Jacaszek’s various strands of work for documentary, fantasy and TV drama seep together in the creepily paced sequence of events and spectral apparitions that unfold within the ambient-classical-concrete interzones of his ‘Music For Film’.
Etched in chiaroscuro over broad canvasses from a palette of field recordings, acoustic sampling, poetry and baroque instrumentation, his music trustingly evokes the dark fairytales and hardbitten dramas he’s been sought out to score, but removed from those contexts and replaced into an album sequence, the suggestive essence of Jacaszek’s music becomes more versatile, lending itself to your own swoon-worthy scenes and perhaps most acutely, often as a crushing elegy for the times.
RIYL Deathprod, Deaf Center, Jóhann Jóhannsson, and this one’s among the most convincing examples of his chilling abilities.
Like a harmonious mulch of too many open browser tabs, ‘Thema’ convects a gentle sort of desktop ambient delirium on Total Stasis’ follow-up to their ace Laila Sakini LP
Recorded in Total Stasis ‘hood of Vancouver, BC, Canada in 2018 by Alex Baris, his self-titled debut appears to be made up of electronic micro-organisms that to play a environmental ambient and micro-jazz with your domestic setting and browser, like a friendly virus or poltergeist that short-circuits the various strands of lower case reality to unravel and reveal some gentle lysergic chaos underneath that connects it all.
Think Irdial for the algorithmic age or sounds from the same rhizome as Wanda Group or Spencer Clark.
Classy debut of sultry/sleazy deep house from Butterbandz on Big Strick’s label out of Detroit
Check for a big highlight in the rude and moody bump of ‘If You Don’t Dance’ feat. laconic vocal by Marc, and for what sounds like Omar-S steeping on the gas with the driving Detroit chords of ‘Hellraiser (BDB).
Chthonic New York rave lord Adam X lusts for dark Belgian new beat and early industrial techno
Returning to a key influence on the early ‘90s rave sound, X makes it darkly monotone and dead sexy in three parts, marching from the title tune’s doomy trample and distorted hoovers to the EBM charged lockjaw grimace of ‘Galactoid’ and the nuttier skizzo rave of ‘Steel Sky’ in a style that authentically nods to proper old skool touchstones in bare bones warehouse style guaranteed to get jaws gyrating and boots stomping.
Steve Roach’s foundational and best loved/most sought-after ambient tape series ‘Quiet Music’ arrives on vinyl via Telephone Explosion, yielding his serene conception of music “created in respect for silence”
Recorded between 1983-1986 and issued in ’86 in successive volumes, ‘Quiet Music’ sees Roach expand on Eno’s ideas of ambient music in a soundtrack for Richard Leon’s ‘Wildflowers’ video. Also taken by a fruitful new age spirit in a style that would become his hallmark and also parallel the tranquil electronic simulacra of Japanese ambient environmental music, Roach evokes beautifully bucolic auditory scenery stroked with tender melody in a way that suggests, implies rather than tells, a story about nature and childhood naïveté.
“Flowing like the breath of a sleeping child, Steve Roach’s third recording of quiet music evokes the high, clear streaming of stratospheric clouds. Flue and synths blend in this deep and peaceful ambience, creating a sustaining atmosphere of timeless simplicity. (Try listening to this quiet music at a slightly lower volume.)”
Synth-licked South African disco heat reissued for the first time with Mr Bongo, practically worth cost of admission for the trancey drive of ’Toitoi’
"'Modiehi' was originally released on Spades Record in 1982 and was recorded by producer West Nkosi, who was a member of supergroup 'Mahlathini & The Mahotella Queens'. He worked with the big hitters in South African music such as Ladysmith Black Mambazo, Teaspoon & The Waves, Patience Africa and many more. Marumo were made up of a group of musicians from the Athlone School for the blind in Bellville, close to Cape Town.
The band members, John Mothopeng, Munich Sibiya, Simon Falatsi and Marks Mbuthuma, had previously played in the groups Batsumi, All Rounders and The Orations and came together to record this versatile album. It covers a wide number of genres from Sotho soul, Mbaqanga, synth slow jams. Flash forward 30 or so years later and lost dead-stock copies of the album start to appear and Marumo's music begins to be heard across the world in the DJ sets of Motor City Drum Ensemble, Invisible City Editions, Floating Points, DJ Okapi and others."
Black Truffle issue this obscure, outstanding art-pop treasure of the most charming order, a collaborative project by David Behrman, Paul DeMarinis, Fern Friedman, Terri Hanlon and Anne Klingensmith recorded at Mills College in 1981 - previously known only to cognoscenti through an obscure self-released three-track 7”, this is the first publication of the complete album, an outrageous confection that mixes art-song and theatrical monologue with live electronics.
One of many wonders from the experimental hotbed of Oakland, CA’s Mills College, the confection of art-song and theatrical p[erformance in ‘She’s More Wild…’ finally unveils a full album of songs stemming from a self-released 3-track 7” that was “known only to cognoscenti” according to the wise ones at Black Truffle.
Notably based on musical backings by The League of Automatic Music Composers’ David Behrman & Paul DeMarinis, it saw the two composers famed for their groundbreaking use of “live” electronics, shapeshifting into more pop-wise forms that recall the sort of freakish beauties found on Black Truffle’s 2019 release of DeMarinis’ ‘Songs Without Throats’, mixed with the sound-sensitive electronics of Behrman’s ‘On The Other Ocean’, but ultimately coming out close to David Rosenboom and Jacqueline Humbert’s avant-pop-tart piece ‘Daytime Viewing’, but without their sometimes aspartame-levels of saccharinity.
Theatrically voiced by Maggi Payne, Fern Friedman, Terri Hanlon and Anne Klingensmith, they take in everything from tongue-in-cheek exotica nodding to notorious cannibal pioneers The Donner Party, to slinky minimal pop snarks at industry politics, satirical riffs on new age self-help culture and the kind of bucolic dream-pop that first drew us to Julia Holter (and clearly influenced her), and the type of electronic occult pop magicking that Coil would come to years later.
What a find?! Unmissable.
Convincingly dark and heavy warehouse techno from the NYC bossman for his Sonic Groove bastion
Driven by lunky big kicks and chain-dragging industrial percussion, ‘Coercive Persuasion’ is the weightier and more aggressive of the two, whereas ‘Deprogramming Sequence’ speaks to X’s lesser heard slinky side with a steely but springy sort of minimal techno stepper.
Digital reissue of two deep Adam X techno steppers inspired by the “outflow boundary that formed over NYC on September 16th, 2010
They both very much fit in that style of Sandwell District or Mike Parker-esque subaquatic techno circa 2010, rolling out the subbass-loaded pressure of ‘Downbursts’ and the shiftier motion of ‘Wind Shear Detection (Vertical Mix)’ for properly locked in and sodden sessions.
Colin Stetson’s breakthrough album of gripping bass sax innovations still buzzes like few others.
In 2007 ‘New History Warfare Vol.1’ asserted Stetson as an indomitable player of wind instruments, here letting off on Alto, Baritone and Bass Saxophones, plus Clarinet, in a deftly muscular display of his skills which had previously been employed on record and in live tours for Arcade Fire, Tom Waits, Bon Iver, LCD Soundsystem and whoever the heck else needed a set of lungs as good as a blacksmith’s bellows.
While perhaps best known for wielding a massive Bass Saxophone that's responsible for some of the wildest sounds on this album, Stetson proves to be a sensitive beast capable of articulating the instrument’s full range tonal in his own voice, which variously comes out resembling a purring big cat and the dying wildebeest it just stalked, attacked and slaughtered in ‘Time Is Advancing With Fitful Irregularity’, while he uses the same broad tone to describe natural scenes as textured with soil and moisture and wind as an Anne Guthrie piece in ‘As a Bird or Branch’, while ‘Nobu Take’ sounds like a manic 8-bit computer game soundtrack and ’Tiger Tiger Crane’ adds a tight percussive workout for good measure, but trust its all acoustic, instrumental, hands-on, somehow not processed.
Still a stonking good record, this, ripe for re/discovery.
Four relentless bouts of inspired fire music forged from the true spirit of free jazz, driven by searing poetic narrations of Black trauma, survival and power. Moor Mother’s reactionary power cuts right ti the heart of it, in an obstinately oblique but ultimately refreshing sort of free jazz
“Irreversible Entanglements are a liberation-oriented free jazz collective formed in early 2015 by saxophonist Keir Neuringer, poet Camae Ayewa (a.k.a. Moor Mother) and bassist Luke Stewart, who came together to perform at a Musicians Against Police Brutality event organized after the slaying of Akai Gurley by the NYPD. Months later the group added trumpeter Aquiles Navarro and drummer Tcheser Holmes (a duo who also performed at the MAPB event) for a single day of recording at Seizure’s Palace in Brooklyn, and the full quintet’s first time playing together was captured for this debut. In four relentless bouts of inspired fire music the instrumentalists explore and elaborate compositional ideas drawn from their deep individual studies of free jazz improvisation, but the tone of each piece is driven decisively by Ayewa’s searing poetic narrations of Black trauma, survival and power. The message is the undeniable essence of the music.
Though free jazz with voice is an uncommon approach in the modern day landscape of the genre, the spirit and subject the band channels and explores represent a return to a central tenant of the sound as it was founded – to be a vehicle for Black liberation. As creative and adventurous as any recording of contemporary avant-garde jazz but offering listeners no abstractions to hide behind, this is music that both honors and defies tradition, speaking to the present while insisting on the future.”
Gabber Eleganza’s newly minted Never Sleep label introduces Lizzitsky with a gnashing batch of hardcore rave mutations
‘Molto Crudo’ shapes up as the label’s 2nd musical release following from Never Sleep’s debut publication of ‘Hardcore Soul’, a book photos by Ewan Spencer, also including his conversation with Mark Leckey, and accompanied by a Gabber Eleganza mixtape.
Expanding the label’s futuristic-nostalgic fetish for hardcore ‘90s/00’s rave and its hyper-contemporary echoes, Lizzitsky slews in six ways between the jumpy grime mechanics of ‘Bad Vein’, the inverted kick drum stomp of ‘Darkl Millennium’, and a Kamixlo-styled hardcore dembow ballad ‘iiilip6’ on the ‘Never’ portion of the EP, while the ’Sleep’ side serves nEuro-sparking hybrid styles in ’SMsnipers’s essay’, clod-hopping gabber in ‘Ums303’, and a ravishing hyper-juke attack strongly recalling 33EMYBW or Slikback, saving ‘Video Green’ to show off their tactile, hyperreal sound design virtues.
Yowling, sleazy industrial EBM from Barcelona, knocking between the styles of Jade 4 U, Jasss, and Toresch
Going down lowlit, gritty greased alleys of inquiry for Valencia’s B.F.E Records (O Yuki Conjugate, Самцы Дронта, De Fabriek) the six songs on ‘La Soluzione É Una’ steer the livewire spirit of classic industrial styles into modern day basement club-ready slugs, at best in the druggy cruiser ‘La Notte É Odscura’, a New Beat-y ‘No Sabes’, their sludgy title banger channelling similar daemons to Pharmakon, and the batacuda-like blow-out ‘Çamur’.
Marking the 40 year anniversary of AK79; a defining record that captured a raw snapshot of punk subculture in Auckland during the late 70's.
"To mark this very special occassion, Flying Nun Records pays tribute to those ragged and rambunctious years by presenting AK79 40th Anniversary Edition Reissue, due in-stores throughout New Zealand on December 13th. Presented in a myriad of forms; on limited edition red vinyl, standard black vinyl and CD, we can celebrate this iconic cornerstone of alternative kiwi rock history with this special anniversary edition. Featuring new liner notes written by Ripper Records’ Bryan Staff, the 2019 reissue will feature all songs ever featured on any version of AK79 for a complete look at its recorded history.
About AK79 Raw, unfiltered, shambolic madness. The vision to capture the Auckland scene began with Bryan Staff (Head of Ripper Records and Radio DJ at the time) who saw reason to capture the music coming out of the local punk venues of the time such as Windsor Castle and Zwines. Originally released by Ripper Records in December 1979, bands that featured on the original pressing included The Swingers, The Scavengers, The Primmers, Proud Scum, Toy Love and The Terrorways. The musical movement captured on record was an abrasive, empowered response to the overindulgent progressive rock and glam era of the 70s. The initial pressing, with its iconic black and white cover designed by Terence Hogan was limited to 500 copies, to be later reissued on vinyl and cassette through CBS. During the 40 years since AK79’s first release, the record took on a life of its own. Those original 500 pressings became a rare and coveted collectors item, and somewhat of an “urban myth” on the vinyl market. So the story goes, when the original master recordings of AK79 were discarded in 1982, it only created further demand for this enigmatic record. Responding to the call, an expanded version of AK79 arose, released on CD by Simon Grigg and Roger Shepherd as a joint release by Propeller Records and Flying Nun Records in 1993.
This time there were some late additions, including tracks from The Suburban Reptiles, The Spelling Mistakes, The Features and The Marching Girls, along with additional tracks from the original bands on the first pressing. This particular reissue was remastered and mixed by Grigg, and came bundled with additional liner notes by Grigg, Staff and The Terrorways’ own Kerry Buchanan. In November 2008, a bootlegged 2 LP version would come to life for a very special reunion gig in Auckland which involved The Scavengers, The Spelling Mistakes and the first performances from The Terrorways and Proud Scum since 1980 in a rare event. At the time, it was sold at the show with unreleased tracks and a 20- page booklet. Six years later, the AK79 compilation was honoured in its many forms with the IMNZ Classic Record award, presented at the Taite Music Prize ceremony. 40 years on, the spirit of the AK79 still packs a punch and the feeling captured in these recordings are as relevant as ever. "
Pure nether-pop magick from Glasgow-based Maria Rossi, chasing up her LP ‘Zoom’ with a return to studio-based sorcery after 2018’s ‘Hilja’ worked its way into a lot of AOTY lists.
Arriving in close proximity to Cucina Povera’s split tape with Haron for BAKK, the freeform mix of semi-melodic synth noise and humble, hymnal vocals in ‘Tyyni’ recaptures the appeal of her first album across eight steeply hypnagogic songs that sound as though she’s put a bit of time in researching (doing) mystic substances to our ears, but may just be proof of her porous link to other dimensions.
While taking its title from the Finnish for “still, serene weather”, the music offers a canny contrast of gently precipitous and heady sound pressure systems that sound like field documentary evidence of natural events and scenarios rather than anything more laboured. That gently organic effortlessness carries the album on fantasy wings, breezing from sweetly haunting psychedelic projections in ‘Salvia Salvatrix’ to tie in gauzy rhythmic knots on ’Teerenpeli’.
She vacillates a barely-there presence with air-carving vocal calligraphy on ‘Varjokuvatanssi’, and the slow techno-punk lullaby ‘Pölytön nurkka’ calls to mind early Grimes penning an elegy with Suicide, and the curdled lysergic textures of ‘Haaksirikkoutunut’ give way to pristine digital revelations in the FM synth sculpture ‘Saniaiset’, wrapping up with her spine-tracing, beat-less synth-pop beauty ‘Jolkottelureitti’.
Strong one for Broadcast fans - classy, active cosmic pop zig-zagging from swoonworthy to heady, motion sickness of time travel-psychedelia, conjured by members of Russian Baths, Grooms, and a disciple of PTV.
“Activity are an avant four-piece featuring Travis Johnson, and drummer Steve Levine, both from the band Grooms, bassist Zoë Browne from Field Mouse, and guitarist Jess Rees from Russian Baths. Produced by engineer Jeff Berner of Psychic TV, their debut forms a casually menacing framework for lyrical themes of paranoia, exposed character flaws, and the broader human capacity for growth when an ugly truth is laid bare.
Lead single “Calls Your Name,” establishes the record’s spectral aura with nauseated electronic bells, and a relentless Geoff Barrow-esque drum beat beneath a half-sung, half-spoken lyrics inspired by C.S. Lewis’s 1945 novel The Great Divorce. In the novel, characters stuck in a grey, joyless conception of hell repeatedly deny opportunities to be taken into heaven, instead making excuses as to why they should remain in their embittered purgatory states. Allegorically, this speaks to the kind of opportunity for metamorphosis and positive change that’s possible when the depths of disillusionment are reached, an idea which permeates much of the album. Despite recurrent aches of discontentment, each track glows with radiant waves of catharsis while elegantly evoking jubilation and anguish within the same breadth, showing that the two are always around the corner from one another."
The sixth release in BBE's acclaimed J Jazz Masterclass Series: ‘Stop Over’ by Hideto Sasaki - Toshiyuki Sekine Quartet +1. Released at the height of the electric fusion era, ‘Stop Over’ is an all-acoustic hard bop killer, sounding like the Jazz Messengers on speed.
"When it was originally issued on the private Smile label in 1976, only 100 copies were pressed, making ‘Stop Over’ one of the most sought after and rare LPs in the J Jazz canon. Trumpeter Hideto Sasaki tears it up as if he’s Kenny Dorham on a classic late 50s Blue Note session. He also provides the breakneck title track to the album, the one stunning original that sits next to solid covers including Bobby Hutcherson’s modal classic ‘Little B’s Poem’ and Denny Zeitlin’s ‘Carole’s Garden’.
Pianist Toshiyuki Sekine is also on top form with his deft touch and fluid keyboard runs, playing Horace Silver to Sasaki’s Dorham. If you dig that late 50s/early 60s breathless hard bop sound, you’ll love this. Licensed and released with the approval of Toshiyuki Sekine himself, ‘Stop Over’ will be available for download and streaming, as a CD and double vinyl LP, the first vinyl reissue of this amazing album since originally slipping out to family and friends in 1976. With a deluxe packaging and translated sleeve notes, there will also be new notes and an interview with Toshiyuki Sekine. The BBE J Jazz Masterclass Series is personally curated by Tony Higgins and Mike Peden and is dedicated to presenting the very finest in Japanese modern jazz."
A masterclass in Deep House, Sasu Ripatti aka Vladislav Delay’s uber-classic debut as Luomo returns for a 20th anniversary edition newly remastered at D&M and packing the deepest bounce per ounce. If you’ve not heard this one before - yr in for a f$$$$cking treat.
Upon its original release in 2000, ‘Vocalcity’ was a totally unexpected turn from the artist best known as Vladislav Delay, who’d by then established his reputation as a producer of abstract dub techno for Chain Reaction that was ostensibly far removed from deep, vocal-led house music. But prejudices were swiftly assuaged as the Finnish artist’s keen knack for shifty rhythm programming was brought in line with Johanna Livanainen perfectly poised vocals, revealing the core influence of sensuous, soulful deep house and garage on his sound in a similar way to the links between Maurizio’s M-Series and the vocal-led Main Street volumes. Twenty years later it’s fair to say the 6 tracks of ‘Vocalcity’ have withstood the test of time and are bound to weave their slinky magick on ‘floors everywhere.
With mint copies now near-impossible to find on the 2nd hand market, this new pressing of ‘Vocalcity’ is perfectly timed for a zeitgeist looking to the late ‘90s and early ’00s for inspiration. Cut a side-per-track, just like the original edition, each of the songs - ranging between 10 and 16 minutes each - have plentiful headroom and leg space for dancers, DJs and audiophiles, keeping the album’s crucial balance of luxuriant minimalism, and the space between its coiled grooves and burning vocals, perfectly taut and intact.
Getting under the skin with the sculpted swing and hair-kissing vox of ‘Market’, and shuffling up close to Moodymann’s Detroit house depth in ‘Class’, the album is perhaps best loved for its timeless highlight ‘Tessio’, a rich, warm and writhing beauty that would set the template for myriad House records to come in the following two decades. Along with the mid-tempo lather of R&B vocal inflections on ’She-Centre’, and the lip-smacking sensuality of ’Synkro’, this whole lot is an absolute must-have for fans of late night/all day dancing sessions as much as those who like do it quieter.
100% classic material.
Timely reissue of The Birthday Party songwriter/guitarist Rowland S. Howard’s ‘Pop Crimes’ (2009), presented just after the 10th anniversary of his passing, aged 50
Notably starring guest input from HTRK’s Jonnine Standish and Nigel Yang, then under Howard’s mentorship, ‘Pop Crimes’ is an aching swansong for the brand of doomy, boozy, literate post-punk and rock that he pioneered over years with The Birthday Party, Crime & The City Solution, and alongside Nick Cave.
The aforementioned hook-up with HTRK opens the album in a dedication to the band’s Jonnine, ‘(I Know) A Girl Called Jonny’, and makes up one of the album’s highlights with his grinding take on Mark Hollis’ Talk Talk classic, ‘Life’s What You Make It’, which, alongside his dust-kicking cover of Townes Van Zandt’s ‘Nothin’’, and the elegiac ‘Ave Maria’. only take on a new levity considering that they were recorded while Howard knew he was dying from a liver cancer. And in that sense, the swagger of closing number ‘The Golden Age Of Bloodshed’ sees him firmly saddled up to go out in style.
Members of Sun City Girls and Land Of Kush unleash free jazz-rock spirits on the Paris-based Akuphone label, shapeshifting from psychedelic jazz squall to exotic, fractal deliquescence and one devilish rhythm trip in ‘Bent, Black, and Red’ sounding like Mohammad Reza Mortazavi meets Oren Ambarchi
“The Dwarfs of East Agouza are back with « The Green Dogs of Dashur » ! Once again, the prolific American-Egyptian trio composed of Alan Bishop (Acoustic Guitar-Bass/Alto Sax), Sam Shalabi (Electric Guitar) and Maurice Louca (Organ/Synthesizers/Beats) breaks off all constraints and reveals a resolutely free album offering the listener variations of seductive melodies and unhinged improvised trance. The hot embossed metallic double-headed dog designed by the Lebanese artist Lynne Zakhour perfectly illustrates this album that blurs the boundaries of rock and jazz. A new album that will certainly delight fans of Sun City Girls or Land Of Kush.”
Swish, romantic and gallant synth-pop instrumentals channelling Satie, Dopplereffekt and Air, whose Nicolas Godin appears.
“Musique Sans Paroles is the debut solo offering from Pierre Rousseau. A careening Parisian police siren provides a melodic set and setting for a newly fashioned brand of romantic instrumental music to illuminate. Breezing between earnest orchestration and radiant dance tracks, Musique represents a return to Rousseau’s creative fountainhead; the influences, the instruments, and the city at the doorway of the artist’s origin story reopened.
Musique follows the trajectory of compositional innovators Erik Satie and Maurice Ravel, whose influences color, if not carry, so many sixties French film scores, Japanese Synth-pop and late 20th century Belgian, German and UK sounds, before reaching Rousseau. Through this maze we feel the profound impression of Gerald Donald’s dynamic, aqueous and stingingly emotive influence, and the drifting mystique of Air, whose Nicolas Godin wrote the bassline for “Souvenir” during an early session.
The album includes contributions from additional people and places: the opening title track features a short vocal recording by Mana Haraguchi introducing the album, and field recordings from the streets of Paris and Tokyo. “Pastorale” features a drone improvised by sound engineer Zak on his EMS Synthi at his Studio St-Robo. Pristine mastering from Adrien Pallot and Joseph Bird’s videos, or “photographs with a pulse,” provide the final touches.
Intent to create emotive music without lyrics and “retain the elegance of minimalism, with the ambition of maximalism,” these outer, and inner, communions allow Musique Sans Paroles to speak volumes without speaking at all.”
Satisfyingly deep, rugged and raw ambient techno rave, from Buttechno-like bangers to Actress or Grungerman-like techno steppers.
"Matt Karmil is British born – growing up in the rural town of Salisbury, near Stonehenge. Suffering a prolonged illness as a child, he spent much time indoors whiling away the long hours by playing with a classical guitar. Eventually he was well enough to see the world that had almost left him behind, and he spent his early twenties as an international traveller, DJing, record collecting and working as a producer-engineer in London, Paris, Stockholm and Berlin. In 2012 he decided to settle on Cologne – a city famed for its excellent club scena and ultra-minimal take on techno via the collective of artists and producers around the Kompakt label.
With a studio established in Cologne, Matt made his LP debut with the well received (but hard to Google) ‘----‘, combining dusty samples and elegant tape hiss with scuba-diving grooves and minimalist vibes. In the same year he released the jubilant club anthem ‘So You Say’ on Tim Sweeney's Beats In Space label and remixed John Talabot and Axel Boman's (Talaboman) single ‘Sideral’. Recent years have seen a raft of new releases from Matt, remixing XPress 2 for Skint, the albums idle 033 and ++++, as well as 12”s for Yumé Records, Idle Hands, Endless Flight and Studio Barnhus."
Smersh’s Mike Mangino does it dubby and deep house-styled for his longtime fans at iDEAL, big recommendation if yr feeling Huerco S., Ilpo Väisänen’s Liima dubs, The iDEALIST!
Pivotal ’80s proto-techno-punk Mike Mangino ov Smersh coughs up an ace bunch of dark dub and house grooves in a patented livewire style for Joachim Nordwall’s iDEAL
As half of New Jersey’s prolific, grooving industrial unit Smersh alongside Chris Shepard (R.I.P), Mike Mangino’s efforts in the ‘80s and early ‘90 have exerted a vital influence on the past decade of DIY noise techno and lo-fi operators thanks to a string of prized Smersh reissues via Dark Entries and Knekelhuis. iDEAL founder Joachim Nordwall has followed Smersh since their cannily titled 1986 album ‘The Part of The Animal That People Don’t Like’, and more recently has been obsessing over Mangino’s SoundCloud page, which lead him to get in touch and promptly receive this hypnotic batch of deep house and moody machine dub workouts.
Judging from the seven trax of ‘Coisas’, it’s safe to say that Mangino’s music is still very much relevant to the underground and fringe electronic music communities. Like his early work, Mangino’s music still moves perpendicular to dub, noise, industrial and synth music, and since the late ‘80s it’s taken form as a sort of slanted house and brittle dub sound that indeed echoes with Joachim Nordwall’s own efforts as part of Börft Records in the early ‘90s, and nowadays as The iDEALIST.
Trustingly hand-picked by Nordwall, the set highlights Mangino’s tastes for cranky textures, melancholic atmospheres, and a personalised brand of sideways futurism. ‘Local Dub’ gets it going like one of Ilpo Väisänen’s killer Liima dubs, and the night crawling dub slug ‘Ramona Corner’ very cannily pitches up with very trippy effect. ‘The Way You Are’ follows with a full bodied, raw and sleepy dub house stride that’ tucked away Nu Groove style in ‘Slowly I Turned’, while ‘Nothing Changes’ returns to dwell in dub contemplation, and the whisked piano house of ’Solitaire’ gives way to something like a smudged Huerco S. dub in ‘Amphetamine Jitters’.
Sensurreal live ambient manipulations rich with uncanny spatial sensitivity and etheric timbral qualities
“Folding the paper of reality: Sara Oswald and Feldermelder present a live album that reveals hidden timbres by the means of accoustic and electronic improvisation and signal processing.
Sara Oswald's cello, Feldermelder's electronics and a set of signal paths and fractal algorithms serve as the corner points of their delta-like setup. As a result, their music is a mixture of improvised figures that are processed and extrapolated, before feeding them back into the mix. The musicians shape, echo and (de-)harmonize their fragments, creating a dense and ubiquitous music. Both raw and rich in detail at the same time, Sara Oswald and Feldermelder's play unveils hidden sounds as if they were broken through prisms, creating an ever-evolving, shapeshifting musical journey.
Trained in baroque cello and advocating improvised music, Sara Oswald is the perfect match for sound artist and electronic musician Feldermelder. She plays solo, composes for film and theatre and collaborates with musicians like The Young Gods, Pascal Auberson, Sophie Hunger and Julian Sartorius.Feldermelder's influences range from the works of old pioneers of Electronic Music to classical Jazz, electronic and analog music from the now, before and tomorrow.”
Ethio-jazz keyboard wizard Hailu Mergia weaves his magic in a crisply modernist but dubbed-out style on follow-up to ‘Lala Belu’, deepening his partnership with Awesome Tapes From Africa, who brought his 40 years of recordings to overdue international acclaim since nearly a decade ago.
"From a young musician in the 60's starting out in Addis Ababa to the 70's golden age of dance bands to the new hope as an emigre in America to the drier period of the 90s and 2000s when he mainly played keyboard in his taxi while waiting in the airport queue or at home with friends. More recently, with reissue of his classic works and a re-assessment of his role in Ethiopian music history, Mergia has played to audiences big and small in some of the most cherished venues around the world. With 2018's critical breakthrough "Lala Belu" Mergia championed himself and consolidated his legacy, producing the album on his own and connecting with listeners through the sheer creative power of his version of modern Ethiopian music. His subsequent performances revealed an artist who is in no way stuck in the nostalgia for the “golden age” sound. The press agreed, including the New York Times, BBC and Pitchfork, calling his music “triumphantly in the present” in its Best 200 Albums of the 2010's list. Mergia's new album "Yene Mircha" ("My Choice" in Amharic) encapsulates many of the things that make the keyboardist, accordionist and composer-arranger remarkable—elements that have persisted to maintain his vitality all these years, through the ebb and flow of his career.
The rock solid trio with whom he has toured the world most recently, DC-based Alemseged Kebede (bass) and Ken Joseph (drums), forms the nucleus around which an expanded band makes a potent response to the contemporary jazz future "Lala Belu" promised. "Yene Mircha" calcifies Mergia's prolific stream of creativity and his philosophy that there is a multitude of Ethiopian musical approaches, not just one sound. Enlisting the help of master mesenqo (traditional stringed instrument) player Setegn Atenaw, celebrated vocalist Tsehay Kassa and legendary saxophone player Moges Habte from his 70's outfit Walias Band, Mergia enhances his bright, electric band on this recording with an expanded line up on some songs. Mergia produced the album which features several of his original compositions along with songs by Asnakesh Worku and Teddy Afro.
An artist still reinventing his sound every night on stage during his marathon live sets, this 74 year-old icon refuses to make the same album twice. The album feels as urgent and risky as his concerts can be, pushing the band to the outer limits of group improvisation and back with chord extensions during his exploratory solos. "Yene Mircha" captures this live experience and fosters an expansive view of what else could be in store for this tireless practitioner of Ethiopian music. "
Ten incredible albums culled from the deepest, weirdest co-op of record enthusiasts ever gathered under one banner.
"We’ve spared no expense packaging these, pairing the idea of the Art of Compilation with living and breathing art, creating little fortune cookies baked in a factory of forgotten dreams. Video games, pyramids, trading cards, matchbooks, mazes, lottery tickets, film canisters, yearbooks, and various other exercises in design absurdity.
A lounge in the Poconos located just inside a Holiday Inn, 1973. The smoky haze clears to reveal a middle aged couple on a one-foot high stage, prattling on about the weather or Watergate before launching into a serviceable cover of Burt Bacharach’s “Do You Know The Way To San Jose?” Tens of thousands of such combos littered restaurants, cruise ships, casinos, lobbies, and cocktail bars throughout the ’60s and ’70s, but far fewer cut a record worth buying from the stage, much less listening to on the home hi-fi. Gathered here are 14 lounge originals from across the entire easy listening spectrum. A spent matchbook’s worth of crooners, bossa nobodies, seafood jazzers, and Donca-Matic enthusiasts all in search for their ticket out of a red leather booth hell."
Lo-fi, loop-based innovations from Turin, IT-based DJ/producer Camarades Breton; hacking and splicing bits of ambient techno, hardcore, grime and psychedelic electronics in a ruffneck style recalling Filter Dread and Seekersinternational
“The album has been entirely recorded by the artist at home, using only a CMX-5000 CD-J, a twin CD-mixing system rack distributed by Pioneer at the beginnings of the 2000s, and an old two-channel mixer he has been using since childhood.
Recordings started in a very instinctive and naif way, by simply putting together two very short loops taken from two different sources, just for the fun of it. Quite soon however, this extremely simple technique turned into a proper method highlighting a constant struggle between two different forces. As a result of a constant shift of tempo and pitch, the two inputs rarely fit together perfectly.
This conflict awakens the producer's vision, turning this clash of sounds either into an emotional struggle, in tracks such as Stella, or into a political struggle, like in the B-side opening track NoTav which, through the costant tension between the two audio sources, evokes the recent fight against the construction of theTurin-Lyon high-speed railway line that is causing huge social and environmental damages.
The sounds get hijacked and given a new meaning, mostly in a contradictory way, giving life to the sounds beyond their original sources.This method can be compared to that of the détournement, as Situationist Guy Debord named it.
The choice of using old material has political reasons as well. Feeling unconfident in producing new sounds in a consumerist and over- polluted Western world where culture has reached a saturation point, the artist decides to recycle some of the sounds recorded in the last fifty years, randomly picking bargain second-hand CD's or taking them away from the dust at people's places.
The artwork of the album, made by the artist himself, integrates the conflictual contrasts of the record, juxtaposing a photograph of the 1962 Algerian women's demonstration for Independence with a photograph of the May '68 Paris streets riots – two different struggles with a common revolutionary feeling.
French director Jean-Luc Godard once said that "you need to put together two images to let things happen". This is probably the best explanation for how this album has been recorded, treating two sound sources as if they were images, waiting for something to finally happen.
The album will be released in a cassette format to encourage an uninterrupted listening, as suggested by the producer. For the same reason it will be released into just two continuous tracks in the digital version as well.
Born in 1989, Stefano Murgia alias Camarades Breton is a producer and D.J. from Turin, Italy. Overly bored by the musical theory lessons he took as a child, pretty soon he starts experimenting with tape recording in his room and playing in a band. Deeply rooted into the underground scene of his hometown, he is currently working on different projects concerning music, film-making and editorial stuff, with a DIY approach.”
Immersive, transporting and deeply arresting music from the revered autodidact and audio oddity. If you've never encountered Ghedalia before, this is an excellent place to start, welcoming you to a whole other world of exotic, electro and acoustic sounds, composed between 1979 and 1987 according to a genuinely far reaching and individual agenda.
"More than 5 years after the CD edition of Eclipse totale de soleil and Transportes, Alga Marghen finally decided to also reissue the first and forth LP by Ghedalia Tazartes including both on one CD. Ghedalia Tazartes is a nomad.
He wanders through music from chant to rhythm, from one voice to another. He paves the way for the electric and the vocal paths, between the muezzin psalmody and the screaming of a rocker. He traces vague landscapes where the mitre of the white clown the plumes of the sorcerer, the helmet of a cop and Parisian anhydride collide into polyphonic ceremonies… The greatest trips were made in the deep end of the throat: the extra-European music open the ear to Ghedalia's intra-European exotism. Where was music before music halls? Where was the voice before it learned how to speak? Ghedalia is the orchestra and a pop group all in one person: the self is multitude and others.
The author and his doubles work without a net, freely connecting the sounds, the rhythms, his voice, his voices. The permanent metamorphosis is a principle of composition, it escapes control, refuses classification. To hell with the technocrates of noise and the purists of synthetic culture. All art like all true mythology use a double clavier, playing nature and culture, feeling and the distance of the flesh, death. Off limits!"
Divine, endlessly reverberating dream-pop from the much loved Windy & Carl, reprising and refining their very special brand of shimmering shoegaze vistas on their first album proper since 2012.
Born in dream-pop’s second wind, when it shifted further into etheric margins after 4AD brought it to near mainstream acclaim during the ‘80s, Windy & Carl were at the eye of a slow moving sound emerging from Chicago and centring around the Kranky label in the ‘90s, whom they’ve become synonymous with over the years.
With ‘Allegiance and Conviction’ Windy’s vocals are again an elusive, poetic presence, drifting in and out of focus to channel Nico at her smokiest, or even one of the alien spirit voices collated in the gorgeous Tongues Of Light sides, and all typically bathed in their deeply anaesthetised sound, smudging the guitar style of Robin Guthrie into imaginary infinity.
Windy & Carl have been crafting inner space electric guitar and bass vistas for nearly three decades now, but their latest feels as vital and vaporous as any peak opus in their vast catalog. Subtly more succinct than their previous albums, ‘Allegiance and Conviction’ finds Carl Hultgren’s guitar amassed in pillowy layers of bass and cirrus timbral iridescence, feeling out sound stage settings for Windy that shift from the chthonic, sepulchral drone-pop majesty of ‘The Stranger’, and the breezier pastoral relief of ‘Recon’, to the densely forested fug that mask her in ‘Alone’, while the shimmering instrumental hope of ‘Will I See the Dawn’ pays up in quietly cathartic effect up in the romantic guitar strokes and decaying angelic chorales that cradle Windy’s fading spirit on the closer ‘Crossing Over’. Lend an ear and you’ll be richly rewarded.
Bittersweet electro nerve tweaks from Annie Hall on her 2nd EP with the non-stop CPU label
‘Fum’ comes 4 years since her ‘Tenured Positions’ and sees her sleek mechanisms whirring from Bitstream-like electromance in ‘Verd Mar’ to piston-pumping 808s and taut FM synth bass in the wickedly off key harmonic developments of ‘D’un Altre Planeta’, with the title track swanging out into Detroit style electro-funk and the clinically cold sci-fi scenes of ‘Promises De Fusta’ betraying her links to the Gerald Donald-helmed Daughter Produkt.
Avery and Cortini feel out emotionally raw synth circuitry across an album of rolling topographies strongly comparable to Blanck Mass, Abul Mogard, Tim Hecker.
“The album is a beguiling and unexpected collusion of two sounds. Beginning as a collaborative experiment before the pair had even met, Avery and Cortini then worked remotely and free of concept or deadline over several years. The result, finally completed when both artists were touring with Nine Inch Nails in 2018, is a quietly powerful album rooted in trust, process and experimentation.
The first fruits of their labour were unveiled last year when ‘Water’ and ‘Sun’ appeared online, subsequently released as a very limited 7” run that was sold at FYF Festival, Mount Analog in Los Angeles, Phantasy's online store and Phonica Records in London. Both tracks are included on the album.”
One of Australia’s greatest musical storytellers at his best on one of the best albums to come from down under during the ‘90s, including his classic take on Billy Idol’s ‘White Wedding’.
Rowland S. Howard’s solo 1999 debut arrived in a dramatic lineage of The Birthday Party, who he co-founded with Nick Cave and took to indelible acclaim circa post-punk years 1978-1983. ‘Teenage Snuff Film’ saw him saddle up with fellow TBP member Mick Harvey for a now canonically classic trek into the depths of his soul, setting ripping yarns of despair, romance and alien affectation to the sort of swaggering, sozzled, classic but fucked-up alt.rock sound he helped establish in the first place.
Ever since it was released ’Teenage Snuff Film’ has cast a long shadow of influence over everyone from The Horrors to HTRK |(who collaborated with Howard just before he died, on 2009’s Pop Crimes’) and remains a totally definitive record in its field.
Deliciously strung-out psychedelia steeped in gnostic desert rock vibes and possessed by exceedingly strange vocals. A distinctive wonder from deep West Texas for fans of Sun City Girls, Alejandro Jodorowsky, Sun Araw
“The Totemist marks a new direction for the mysterious group. Equipped with studio quality recordings and a (somewhat) lighter tone, opposed to the oppressively lo-fi sound the group is known for.
This is a deep psychedelic-folk album with hints of mysticism, some of which was written and recorded in a ghost-town in the Chihuahuan Desert in far West Texas - a place where the dead outnumber the living. Various overdubs and field recordings were captured in the historic Terlingua cemetery : an ancient burial ground filled with small grottoes and graves made of sticks and stones. This being the final resting place for miners who succumbed from illnesses derived from the toxic rare-earth element known as mercury.
Ak’chamel, The Giver of Illness are fourth world post-colonial cultural cannibalists circumcising the foreskin of enlightenment. Performing in homemade costumes and masks, they have played festivals in various cities around the U.S gaining international attention from Vice, The Wire, Tiny Mix Tapes, Consequence of Sound, and many more. Enter the fourth world now!”
Broad, Afro-soulful and disco-dancehall-rooted picks from Stockport’s own Mr. Scruff on the long-running DJ-Kicks series, taking in tracks from Iona Fortune to Equiknoxx, Errorsmith, Seiji, and DJ Nervoso, among many others, in his party-ready stride
Serving a 31-course taster platter of his persistent parties at Band on The Wall in Manchester, and literally everywhere else in the world, where he tends to play from start to finish, this mix testifies to Scruff’s slow-burning style, slinging far-flung burners from West Africa to the Caribbean via Brixton and Berlin with a faithfully winky wiggle and schwag. Good stuff.
Beautifully immersive avant-ambient sound sculpture from the peerless Simon Fisher Turner for renowned ceramicist Edmund De Waal - truly unmissable stuff from a living legend of the British art world.
We could be here for days on SFT’s illustrious past, but Google can sort that so we’ll focus on the glorious, immanent present of ‘A Quiet Corner of Time’, where the artistic polymath wears his sound design hat for a return to his sort of dream-like soundtrack work that enriched Derek Jarman’s films including, among others, ’Caravaggio’, which poetically presages this new piece in collaboration with contemporary artist and master potter Edmund de Waal.
Hailed as “the first time de Waal has collaborated so closely with a musician”, the sonic results were first heard installed at the Schindler house in LA, in a piece that used de Waal’s materials and architectural interventions to link his own history to that of the building, and its famous residents including John Cage.
Standing alone as its own object to be admired, immersed in, Fisher Turner’s album is a richly evocative environment in its own right, weaving in material also recorded and swapped with Ryuichi Sakamoto to create a rarified air of introspection and meditative drama that lends a strange, animist presence to whatever respective environment it’s used in.
It’s totally required listening for followers of everyone from John Cage to Terre Thaemlitz, Jim O’Rourke, Leyland Kirby and Ryuichi Sakamoto.