A beautiful, then-and-now document of banging Japanese folk traditions featuring one side recorded in 1982, and the same pieces performed in 2017, recorded and mixed by Sugai Ken, whose recent LPs for RVNG Intl are a farther, electronic extension of Japanese tradition
“EM Records is proud to present, following “Yumi Kagura” the second edition of the Japanese folklore music series, directed by Riyo Mountains. Japan has a long tradition of annual pre-harvest summer dance festivals, known as Bon-Odori festivals, which continues to this day. One of the longest-running of these festivals is the Sakai Ishinage Odori festival, taking place in Sakai town, Saitama, north of Tokyo.
Unlike some festivals which function as tourist attractions for domestic and international visitors, this festival is resolutely local, with no professional performers, the music being passed down from generation to generation, played by local men and woman ranging in age from elementary school students to senior citizens. With percussion, massed flutes and vocals, this is a vital, living music, a sort of minimal disco born in the rice fields, agricultural “industrial” music, low-tech hard techno. Available on CD and vinyl, this release features 1982 recordings, plus 2017 versions of the same pieces recorded and mixed by Sugai Ken.”
Pye Corner Audio brings his wood-fired analogue sound to Lapsus Records after touring the houses of Mondo Tees, Polytechnic Youth, Analogical Force and More Than Human already in a productive 2017 cycle.
In a smart play of contrasts, we hear much-loved and lesser-heard sides of PCA’s sound in Where Things Are Hollow. The supple, rolling arpeggios and acid tweaks of Resist, and his wobbly, chromatic cosmic chugger Northern Safety Route both bear the hallmarks of Martin Jenkins’ signature dancefloor romance.
However, fans should be very intrigued to hear him go beat-less and weightless in the other two parts. With Mainframe he conducts a stellar display of piquant bleep motifs and arcing choral pads converging into a gently distorted and dissonant harmonic smudge at the track’s peak, and Continental Drift seemingly operates on the opposite side of that wave with a sullen stir of low end swells and light pollution aurora reflecting the scale of the track title.
RVNG Intl parse Pauline Anna Strom’s incredible new age recordings on this collection of boundary-smudging synth journeys, containing material originally released between 1982 and 1988. They've spent almost a decade trying to bring this collection to life, kudos to them once again for compiling and conceiving it with so much care and attention to detail.
Drawn from seven obscure tape and vinyl releases made between 1982 and 1988, Trans-Millenia Music lives up to its mantle with a sense of ancient knowledge transposed into the contemporary future of the 1980s, realising a latent, transcendent sound that was perhaps just waiting for technology to catch up so it could speak freely.
Through the circuitry of pioneering synth tools, the blind composer and keyboardist from San Francisco feels out a spectrum of unfathomably celestial and synaesthetically-heightened sound colour along myriad, psychedelic vectors, haptically connecting diffuse spatial coordinates with a gossamer web of FX and morphing filter envelopes.
It’s music for oceanic introspection, beckoning listeners to fall deep inside themselves and diffract profound visions through their own lens, where you can interpret her descriptions of sonic flight in Crusing Altitude 36,000 Feet and In Flight Suspension, or decode the entheogenic synth voices of Mushroom Trip according to your own understanding of the cosmos and its play of energies, and draw your own meanings.
Gorgeous music, highly recommended if you're into Suzanne Ciani, Laurie Speigel or indeed Midori Takada.
Back in print for 1st time in years, Scott Walker’s starkly funereal Tilt is the first in a seminal trilogy of LPs which was completed with The Drift  and Bish Bosch . Upon its European release in 1995, Tilt, Walker’s 12th solo studio LP, was also his first release in eleven years, and found the arch avant-pop songwriter pursuing the mix of industrial, rock and classical in Climate Of Hunter  much farther down the rabbit hole, achieving a distinguished sound which can easily be mistaken as electronic, but is remarkably, entirely acoustic, orchestral.
Few artists work is harder to get a grasp on than Scott Walker. From beginnings as a teen idol, then as frontman of ’60s pop trio The Walker Brothers, thru the subsequent, change of direction with Climate Of Hunter, and his modern avant-garde masterpieces, Walker’s oeuvre is practically unparalleled in its diversity, which requires some effort of behalf of the listener to really join all the dots.
However, the one constant theme throughout Walker’s recordings is that baritone vocal, alternately booming, crooning and lamenting depending the song, and giving life to his lyrics in the manner of some ancient, spellbinding bard relaying tales from the brink. It’s a voice that has unmistakably lived, and evokes life in the richest colours.
Of course, life would be nothing without contrast, and that’s where Walker’s genius really comes into play on Tilt, as a lone, detached presence echoing against backdrops ranging from the grandiose, panoramic, operatic and cinematic, mostly thanks to strings by London Sinfonietta, to moments of utter, stark despair and bellicose militancy, often in the space of a single song.
If you’ve ever been intrigued by Walker’s indomitable body of work, including collaborations with Sunn 0))) and song-writing credits for Bat For Lashes, we thoroughly recommend immersing in Tilt and following your nose into the abyss.
Gorgeous 2nd album from Glasgow’s Happy Meals, dispatched via the ever-tantalising Night School a few years on from the duo’s equally endearing debut, Apéro (2014). If you're into Young Marble Giants, Vazz, Antenna, Pram etc, you'll love this.
Fruit Juice can be broadly but cleanly divided in two parts; on the hand they effortlessly charm with slower, creamily kosmiche pop pieces such as Run Round, which sounds a little like Quarantine-era Laurel Halo gone minimal wave, and the woozy psychedelic spell-casting of Fruit Float, which could be imagined as Julia Holter meets Iasos; whilst on the other hand they excel at a smartly pop-wise late ‘80s house and synth-pop style, marking up delicious gallic acid pop in If You Want Me Now and the Deux-styled Suivez Moi, and a real standout portion of mind-bending metallic techno-dub-pop in Now That You Have Me.
Tresor’s 300th release is a 15 track anthology of the Scopex label, a hugely coveted late ‘90s UK electro imprint whose releases by Simulant and Pollon now fetch triple figures for 2nd hand copies. When this set was announced a few weeks back, we could practically hear the collective relief of a thousand night owl neeks hooting at the moon and salivating at the prospect of fresh vinyl editions of Simm City, Out OfEther, and Electratech, all newly remastered from DATs and included here inside.
Right up there next to classic Drexciyan Storms and the black secret technologies of Ultradyne in the pantheon of 3rd/4th wave electro, Scopex releases defined ’90s electro at its tightest and mercurial best with a blend of razor sharp production and concise, sci-fi vision that’s rarely been surpassed.
In chronological order, you’ll find diamond-cut new pressings of Simulant’s Simm City , which is perhaps most noted for its Stinson-esque strengths in New Machines and the rare charms of Musical Box, or the low-lying missile Wav. Form (Mix), before Out Of Ether  dispenses some of the nastiest electro-funk to come from the UK in Knife Edge and the clenched swing of Access Future Audio (Mix).
Pollon’s Electratech  follows to open the 3rd disc with the tense angles of Lost Souls, as deployed by Objekt on his Kern Vol.3 mix for Tresor, and also included in a banging alternate Mix beside the epic Lonely Planet, while the previously unreleased, slow-mo sci-fi electro grunge of Optimal Flow completes the set and sees the label to its final resting place in one piece.
Come git it!
Mississippi Records furnish a very necessary follow-up to Emahoy Tsegué-Mariam Guèbru’s Spielt Eigene Kompositionen with the eponymous Emahoy Tsegué-Mariam Guèbru including the remaining eleven pieces from her Éthiopiques 21: Piano Solo CD.
Beloved of almost anyone who has heard her meandering, rhythmically complex piano meditations, Emahoy’s music feels like she’s channelling gestures and sensations from another dimension, which probably makes sense when you consider that she was ordained a nun at age 19, before subsequently studying the sacred music of the Ethiopian Orthodox Church, and eventually fleeing to the Ethiopian Monastery of Jerusalem because of a conflict between her beliefs and the marxist regime of dictator Mengistu Haile Mariam.
There is no pretension or conceit to Emahoy’s style; it is beautifully vibrant yet melancholy, comparable with the most affective American Blues yet, still, far out on its own plane of musical perception.
One to cherish.
Veronica Vasicka and Karl O’Connor (Regis) unleash a handful of secret weapons as The Floor on Minimal Wave following their blink ‘n miss debut flexidisc 7" The Desire  for Downwards, and an outing with Oliver Ho’s Death & Leisure in summer 2017.
As The Floor, they enhance two mutual Minimal Wave favourites for the dance, firstly giving Five Times of Dust’s Computer Bank a prodding reboot, coolly accentuating the proto-techno potential of its driving mono-rhythm and cascading bleeps with lean, deadly effect, before returning attentions to Tara Cross & Unovidual’s Like I Am Comme Je Suis, highlighting its brittle jack beat, beaky synth pecks and shrill synths for bruxist effect.
If that wasn’t enough, the 12" also features two previously unreleased gems from the MW archive. A-side you’ll catch the steaming Armoured Car by Five Times of Dust’s Rob Lawrence in solo mode - think Warm Leatherette with an ultimate death wish - while Unovidual and Tara Cross’ Imponative cuts a darker instrumental swagger across the B-side.
2017 repress of Walhalla Records’ class 2nd volume of Underground Belgian Wave rarities, all making their vital first appearance on vinyl, mostly a generation after their original release on some of Belgium’s hardest-to-find tapes.
Volume 2 is perhaps bets known for including the nifty Berntholer rarity Toys, and also features some big highlights in the likes of Autumns’ slippery synth-pop bubbler Synthesise, and two bullets from almost-rans Tangible Joy, namely the rocket fuel of Move and the swirling disco jakbeat Some Say I’m Drunk (But I’m Only In Love), alongside Eliza Waut’s etheric beauty Summary Of All My Dreams.
If you’ve been following Minimal Wave, Dark Entries, Mannequin Records, or STROOM 〰 in recent years, you need to check this one ,too.
Four Tet and Jamie XX remixes of The XX, limited vinyl only.
Jamie xx gives On Hold an uptempo french-touch house remix. Four Tet reworks A Violent Noise with a tech-house canter ready for the big room gymkhana. Tally ho.
Geir Jenssen offers a very handy scan of hard-to-find Biosphere cuts c. 1991-2004 on his Biophon label, the latest in a comprehensive reissue agenda which has turned up some real charms so far.
The set ranges from his earliest dalliances with bleep techno rave, superbly so in the sub-loaded killer Hypnophone  off an obscure Norwegian rave compilation, thru to the coruscating ambient loops of Reef  for the Gonzo Circus magazine, taking in gorgeous Lynchian ambience with The Third Planet  and floating ambient structures redolent of X-Files atmospheres in The Seal & The Hydrophone , while catching him at his most wistful and cinematic with Bird Watching , and his subsequent, post-2000 turn toward textured ambient neo-classicism, such as the spectral interceptions of Vi Kan Tenka Digitalt, Vi Kan Tala Digitalt , the stark but sensuous lushness of Valchirie , and his organ work, Visible & Invisible  for Touch.
Definitely not just for the fans, this is a discreet slice of ‘90s ambient history for lovers of icy electronic romance.
A superb work of recondite sonic fiction, Blade Jogger is the palpably clammy tale of an erstwhile Salford doorman with a taste for ‘SWENDAB’ - a new drug of potent psychotomimetic efficacy - set to a backdrop of Brexit bruxism. Conjured by author and artistic director of The White Hotel, Austin Collings (Renegade: The Lives at Tales of Mark E. Smith & The Myth Brilliant Summers), narrated by James Stannage, and set to a synthesised score by Bill Ryder-Jones (The Coral) and By The Sea. Think Anthony Burgess meets Savoy with sound by Martin Hannett in Delian mode. The White Hotel’s shadow looms large over proceedings. Jog on…
“The place is England: a horrible electronic slum. The time is 22 minutes and 11 seconds into the future. A new drug - SWENDAB - is doing the rounds, sending everybody round the bend - as per. And as ever, here in this ‘less-than-United-Kingdom’, the rain must fall continuously. (It’s a wonder we haven’t all rusted by now.)
Rebelling against the drudgery of his surroundings, trapped inside his own fragile psyche - with no map nor money - meet GAZ-15: ex-bouncer/ex-lover/full-time-fuck-up.
Tonight, like every other night, he will go AWOL, lost in ‘the hallways of always’ of another SWENDAB-binge, searching for a meaning he knows he will never find. All those memories leaking into the eternal drainpipe. What a monster he’s made of himself. Not quite human. Oh to be a clone of others.
Evoking the underbelly of urban life, along with an even darker and deeper spiritual dimension, this bleakly-comic and moving musical collaboration between writer Austin Collings (Renegade: The Lives & Tales of Mark E Smith & The Myth of Brilliant Summers) and By The Sea, is Blade Runner re-written and re-scored by two steam-punks waiting to see their Jobseekers’s contact, or Samuel Beckett’s Krapp’s Last Tape soundtracked by Delia Derbyshire, or simply War of the Words - a 22-minutes and 11 seconds ‘single’ that summons a feeling of medicated drift, of hearing beautiful sounds through some kind of filter, as time collapses in on itself.”
Redshape cuts rug with swaggering style via the razor cut but splashy drums and pendulous bass work of Blink
Strongly owing to an enduring passion for the hi-tek funk of original Chicago and Detroit house and techno, whereas the Blink (Tunnel Mix) is a dedication to the Tunnel Club in Paris, and works to a more linear, sexy sort of Franco-Teutonic darkness.
Mississippi Records make Marisa Anderson’s woozily enchanting instrumental solo guitar suite Traditional and Public Domain Songs available again on vinyl.
Packing two new pieces that were on the CD release but not the original LP, namely the Portland artist’s takes on Amazing Grace and Bread and Roses - a must for any followers of solo desert blues from Earth to Sun City Girls!
Despite the break, this album can be seen as a direct follow-on from his previous Drag City albums - most closely resembling 1997's Bad Timing given its lack of vocals and the continuous passages of steel-strung acoustic guitar-led arrangements.
This all adds up to a seriously exciting release; Jim's cycle of Drag City albums (this being the first not to take its name from successive Nicolas Roeg films - following that logic this one should have been called Castaway) is one of the most revered bodies of work in American alternative rock. As this latest addition to that canon starts up, one of the very first things to strike you is that the production and mixing are undertaken in a fashion that is (to say the least) highly unusual by today's standards.
Seldom do you hear so much dynamic breadth in a contemporary record; this is not one of those releases that's had every ounce of life compressed out of it, instead O'Rourke leaves the quiet parts quiet and the loud parts... marginally less quiet. This is an album that's made according to old-fashioned principles, presented with vintage levels of clarity and warmth that benefit from being turned up for full appreciation. A decent amount of cranking will reveal countless layers of instrumental threads, and according to the great man himself there are around two hundred tracks used up in the recording of The Visitor - and that's two hundred tracks he's played himself. Given the long break, it's easy to forget just how brilliant a musician O'Rourke is; his production skills (as demonstrated on records by Wilco, Sonic Youth, John Fahey and Joanna Newsom among many others) are well documented, but since 2001 it'd be all too easy to think of O'Rourke's musical output as being restricted to occasional drone pieces, or the odd film soundtrack here and there for pals like Werner Herzog and Olivier Assayas.
The Visitor is a comeback of heroic proportions however - an auditory feast featuring acres of guitars, immaculately pieced together percussion elements, and all kinds of subtle yet elaborate arrangements for strings, horns and keyboard instruments. John Mulvey really hit the nail on the head when he recently described this as "a kind of folk symphony, a heavenly realisation of modern composition rescored for Laurel Canyon habitués", and it certainly feels every bit as substantial and gratifying as that assessment alludes. Don't leave it so long next time, please Mr O'Rourke.
Drag City reissue O'Rourke's timeless fusion of Bossa-pop, folk, classic rock and jazz.
"Here's another few sides of long-ago and far-away Jim O'Rourke back on vinyl for the first time since way back. It's the 'Halfway To A Threeway' 12" back to set turntables a-spinnin'. Fans of his 'Eureka' and 'Insignificance' albums (not to mention Jim's tomfoolery as part of the Loose Fur band) will appreciate the analogue pressing of these four cuts of the pop music party-pooper combination of folk, classic rock, smooth jazz and a bit of the avant-garde to help communicate the twisted ways of the misanthrope that made Jim such a perennial int he fickle world of record sales.
A quick listen to the title track exposes our sweet soul-crusher as a lustful man-beast on the make. The song is a straight folk number. Straight, that is, until you listen through the haze of those 6 string overtones and chirpy harmony vocals to hear the true perversity of O'Rourke's fantasies. The whole record's a blast, and it hasn't really aged that much in the eleven-odd years since it first emerged."
He's alive!!! And can he sing! Could this be the world's first experimental MOR album? Nah, but time will tell whether or not it is the most supreme. Wackos of the world, take over.
Jim here creates his own personal brand of progressive pop music the likes of which have only ever been hinted at or nodded towards by past artists. From Bacharach to Fahey with several unpredictable trajectories in between....
Synkro diversifies his bonds into blue half step and downtempo modes on Hand In Hand
Sweetly exercising his signature melancholic touch between the pastoral flutes and half step sway of Vanishing Point, the slow-motion Chuck Person/0PN vibes of Hand In Hand for chromatic sunset washes, and Burial-esque senhsucht in red Sky.
Viennese techno in effect from Dan Lodig and Martin Sovinz (Dibek)
Springing the chewy acid and Rob Hood-style minimalism of Lap.AM (Mix 1) and the recoiling, subaquatic dynamics of Lap.AM (Mix 2), plus the soggier slap of Lap.AM (Palma Mix) and a hi-NRG Euro Techno House remix by Erdem Tunakan & Alpha Tracks.
Anthony Child (Surgeon) and Daniel Bean (Spiritland) generate gusty electronic folk drones resonating somewhere between La Monte Young and Coil...
“The title of the debut lp from The Transcendence Orchestra outlines the modus operandi of this pairing of Anthony Child and Daniel Bean. Recorded in a remote English rural setting over a period of 24 hours this is an apt location for a recording that eschews time and space in favour of methodological displacement and deep psychological navigation.
Modern Methods For Ancient Rituals is an experiment in acoustic and synthetic symbiosis which is deeply influenced by the atmosphere and acoustics of the rural location of Cats Abbey resulting in a set of recordings which can aid to the transformation of consciousness. Deploying a range of ancient and modern instruments and effects including Buchla Music Easel, harmonium, shruti box, bass guitar, hurdy gurdy, Electro Harmonix 45000, Strymon Blue Sky and Roland RE 101 Space Echo among others, Child and Bean conjure an audio experience which encapsulates elements of drone, trance, pulse, rhythm and melody subtly shifting all into a psychologically penetrating experience beyond the aesthetic and into the comforting unknown.
Written and recorded at Cats Abbey in November 2016 by Anthony Child and Daniel Bean.
Anthony and Daniel played the Buchla Music Easel, harmonium, shruti box, bass guitar, hurdy gurdy, symphonie, glockenspiel, hand bell, Electro Harmonix 45000, Strymon Blue Sky, Strymon DIG, and Roland RE 101 Space Echo.”
Bubbling up from the archive, a brilliantly warped, acidic and intoxicating décollage of soundsystem shrapnel rinsed thru the echo chamber. RIYL Tapes, Raymond Scott, Ennio Morricone, Horsepower Productions
“Shimmering hologram oases belie the bone-dry heat inna this ya ghost-bloodcl@$t-town; When tumbleweed beliefs pose as the only sign of life, it's time to step into Death's saloon; Bust down the dusty double-swinging doors even the Preacher-man dares not enter!
The Bartender has run out of liquor and listening; Sullied Doves have danced their last number; Lawmen, levelled and long-gone, litter the dance floor; Bodied outlaws doubled and draped over the bar. When the only exit is a horse-drawn hearse; Face to face with Death, who will shoot first!?!
Step into this rattlesnake-ridden realm! Dancehall Showdown is a crazy non-place world where 60’s Spaghetti Westerns, 70’s Library Synth Records and 90’s Golden Era Dancehall come together for a death-defying communion inna Yard! The old posse of SKRS and MX7 ride once again under the banner of their co-run label, ICS Library Records, off into the fringes of sound-based reality.
SKRS' OG Papa Coolbreeze reinforces their select palette, "This album is our reiteration of influences ranging from Spaghetti Western era Upsetters to Raymond Scott's Manhattan Research Inc. to early Horsepower Productions. Now the soundtrack we paint, however, is something entirely unique on its own". Simply put: there's NOTHING like it out there!
Full disclosure: this LP has been shelved for well over 3 years now with the sudden disappearance of Oklahoma's now-mythical Digitalis Recordings, who were set to release it hot on the heels of their 2012 SKRS debut LP, TheCallFromBelow. Since then, we've laboured to break more ground and lay several more keystones in the growing SKRS/ICS groundation-foundation in order to withstand its intensifying expanse and weight. Now that the ground has been prepared, we've decided to take Dancehall Showdown back into our own hands and give it the proper love and nurturing we had always intended for it.”
Never before pressed on vinyl, IBM 1401, A User's Manual, is one of Jóhann Jóhannsson’s most loved works. Released in 2006, the decade since its release has seen Jóhann establish himself as one of the most important composers in the World today, most notably scoring movies such as Arrival, Sicario and The Theory of Everything.
:Inspired by the work his father did in the sixties when chief maintenance engineer of one of Iceland’s first computers, Jóhann originally wrote IBM 1401, A User's Manual to accompany a dance piece by long-standing collaborator and friend, Erna Ómarsdóttir. For this album release, he rewrote it for a sixty-piece string orchestra, with a new final movement (built around a poem by Dorothy Parker) and incorporating both electronics, and reel-to-reel recordings made by his father and friends in 1971 of an enormous IBM 1401 mainframe computer singing the hymn Ísland Ögrum Skoriðby Sigvaldi Kaldalóns as it was being decommissioned.
The first ever pressing of IBM 1401, A User's Manual comes in a deluxe gatefold sleeve, having been reworked by Chris Bigg (v23) from his original design. Pressed on clear vinyl, two album tracks recorded in 2010 with the City of Prague Philharmonic Orchestra at the Rudolfinum, Dvorák Hall in Prague have also been added and are exclusive to this release:
New to the BEB fold, тпсб premieres a rugged deviation of his techno sound on Sekundenschlaf, leaving 4/4 in the rear-view to focus on earthier, grubbing percussion warped into jungle and footwork styles, clad in fetid atmospheres. RIYL Rezzett, Ossia, Buttechno
“Sleep-deprived, breakbeat-driven vignettes of unclear authorship, from somewhere west of Lake Lagoda, near the Russia-Finland border.
Sekundenschlaf has significant points of correspondence with contemporary European electronic music, as well as the golden age of (early) jungle and ambient techno. But its response to tradition, and to the zeitgeist, is idiosyncratic to say the least – with an atmosphere and psychogeography rooted in the tranquility and majesty of Western Russian nature, and the anxiety and distress of the country’s post-Soviet working class.
Pastoral calm meets dissonance and unease. The music has a loose, improvised feel, but its arrangements are intricate, its melodies iridescent: cascading arpeggios that stir a sense of optimism and renewal, sighing string-pads that evoke the deepest melancholy. Rhythms simultaneously hyped-up and burned-out, collapsing in on themselves as they race to destinations unknown. All bound together with field recordings of eavesdropped conversations, blurred into abstraction, a droning subliminal menace.”
Your SA dance collection is set to swell with Pantsula! (The Rise Of Electronic Dance Music In South Africa, 1988-1990), a crucial survey of the much talked about - but little known - scene that sprang from bubblegum and Shangaan Disco, and laid the roots for those Kwaito and Gqom aces which would penetrate scenes and light up dancefloors far beyond the southern hemisphere.
As the excellent liner notes describe in much more detail, Pantsula music (think of Pantsula as a style, attitude rather than fixed descriptor) in 1988-90 was the soundtrack to a difficult, fractious time in SA society and politics, which was still under Apartheid and its people subject to all the shit came with it, which meant that nightclubs and shebeens (blues/after-hours joints/taverns/you know the ones) were constantly under threat of being shut down by the dibble and the authorities, even in places like Johannesburg, where black and white folk mixed more freely.
Still, where there’s a will… and all, meant that the low key shebeens acted as an incubator for Pantsula, where DJs in the backrooms of houses-cum-bars absorbed American and European influences into their own, deeply rich dance culture, resulting a sound that rudely mirrored the hard electronic jack of Chi-house, new beat or eurobeat and the sleek swing of US and Canadian garage, and even traces of Jamaican digi-dancehall, but with natty melodies and vocals familiar to Zulu culture and SA’s wealth of ethnic minorities.
Basically 4/4 house in all its variations was the common currency of Black Atlantic dancefloors, and few places mores than South Africa, which, outside of the USA, was evidently one of the Black Atlantic’s most important hotspots during the late ‘80s international house phenomenon. With that in mind, the 12 tracks on Pantsula! form a vital historic document of Afro-Futurism, catching a uniquely funked up brace of innovative, ingenious and down right infectious dance music which, with the benefit of hindsight, we’d identity among the strongest of its era. Just, it’s taken us all this long to realise.
And the tunes? 100% gold, pal, especially if you’ve a thing for the directness of new beat or the less jazzy sides of Chicago house, as it takes in absolute peaches such as Ayobayo Band’s Sorry Bra, the inimitably tangled bassline of Chaka’s Via Tembisa, the reggae-inflected lope of Go Siami from La Viva, along with pure, brimming soul aces such as The Equals New Lover, the lusty Chi-NYC-Antwerp-esque beauty of Ushelakanjani by Jazino, or the jagged sequencer funk of Scotch Band’s Watsotsama.
For anyone who enjoys dancing, or pissing off the po-po, this one's for you.
René Margraff offers a sublime piece of microtonal organs processed with modular synths, while Malte Cornelius Jantzen follows his nose into liminal zones of stark greyscale abstraction that smell like The Hafler Trio or Thomas Köner’s isolationism
“Second Editions is pleased to present two new compositions by René Margraff and Malte Cornelius Jantzen, as a double a-side split album.
Margraff renders several organ tones with the assistance of his modular system and computer into naturally progressing, yet perfectly calculated harmonics. While Jantzen?s latest cloak-and-dagger excursion into music, or inversion of music if you prefer, slows everything down to a point beyond comprehension. Listen closely.”
Compilation of glittering cosmic and pulsing synth music from obscure French husband/wife duo Fondation - a strong look for fans of Tangerine Dream/Klaus Schulze
“In the early 1980s, the French musical duo Fondation, comprising Ivan Coaquette and Anannka Raghel, released three tapes of fantastic electronic music which owed much to the experimentalism of the seventies. Synthesizer, drum computer, solo guitar. Repetitive, meditative, hypnotic -- between ambient and synth pop. Les Cassettes 1980-1983 presents a selection of their finest pieces from this period. During an extended sojourn in Italy around 1970, the multi-instrumentalist Ivan Coaquette contributed to the highly experimental artist collective Musica Elettronica Viva, who were on a mission to liberate music from every form of convention. Back in France, he played in various experimental prog rock bands such as Spacecraft and Delired Cameleon Family. His wife Anannka began learning to play the piano at the age of four, studied music theory, and sang together with her father, a professional vocalist. Her focus subsequently shifted to theater and dance, but she would return to music, taking up piano and singing lessons again and playing in bands like Spacecraft, Pandemonium, Zed, and Chantal Grimm.
Between 1980 and 1983 they managed to release three lovingly crafted cassettes. Opting for this format rather than the LP was not solely an economic decision. The duo stated a preference for the longer playing time which cassettes afforded. All three tapes had a running time of around 60 minutes. Fondation created sonic collages underpinned by synthesizer, organ, drum computer, and guitar, enhanced by bursts of noise, field recordings, diverse percussion instruments, and the occasional wordless lament sung by Anannka Raghel. Although synthetic sounds are the "foundation" of all Fondation pieces, synthesizers are not -- in contrast to "classic" Berlin School (Berliner Schule) acts such as Tangerine Dream or Klaus Schulze -- especially prominent in their music. Noteworthy is the use of a Korg X-911 guitar synthesizer, related to the popular black series Korg MS-20 synthesizer. The X-911 transforms a monophonic input signal into synthetic sound.
The source instrument for this signal is revealed in its name. Thanks to their use of the X-911 guitar synthesizer, Fondation was successful in blurring the distinction between synthesizers and guitars with a synthetic sound. For this album, Bureau B have selected the most intriguing and illuminating tracks from the three tapes Metamorphoses (1980), Sans Etiquette (1980), and Le Vaisseau Blanc (1983).”
BleeD’s yung American signings Archivist & Fugal coolly furnish the label with its strongest release yet in Undertow, rotating three tracks of menacing, entrancing deep techno backed by a steely Acronym remix.
Hailing from Seattle via Berlin, the pair have previously dispensed 12”s on secondnature and Seattle’s Medical Records en route to the Undertow 12”, which stretches out from sleek, gothic trance techno recalling an icier take on Prurient’s Through The Window on Being And Nothingness, to the drier big room boom and aqueous chords of Far Horizon, which also appears in a tunnelling Acronym remix, before passing out into the Milton Bradley-esque acidic modulations and steepled reverbs of Undertow.
Without doubt one of the most idiosyncratic artists working between Black Metal and electronic music, Wold’s Fortress Crookedjaw dials in a blinding new Black Mecha album from the very limits of intergalactic techgnostic perception with Counterforce.
After initiating the project via AA  for The Death of Rave, successive Black Mecha releases for Profound Lore and their own Internal Masonry Publications have plotted inimitably technoid new routes for hypnotic electronic music, expressing a densely raw, vivid hyperstition thru a disciplined rendering of arcane geometry, conceptual ballistic proprioception, and brutalist sci-fi themes.
Essentially, Black Mecha is making some of the most far out techno in the world right now, and he’s not even a techno artist. Where this past decade has seen a gaggle of roughshod interlopers offer shabby chic, defanged takes on techno, Black Mecha has sharpened his alien incisors with deadly intent and effect, shaping a highly personalised music which applies just as well to proper, extreme, eyes-in-back-of-head transcendence as times of stone cold sober focus, depending your own disposition.
In that sense, Counterforce reaches where even the hardest nEuro techno bosch fests fail to deliver, as Black Mecha circumvents hard techno’s rote formula of 4-to-the-floor kicks and predictable filtering in favour of harnessing brain-eating hooks in a durational torrent of mainlining, shark-eyed rhythms and pineal-pinch noise which deliver an untrammelled, breathlessly anaerobic experience where the only predictable aspect is that the engines will keep combusting until this part of the mission is complete and the receiver is transformed.
Of course it’s not for everybody. But then again, what the fuck is, apart from oxygen? Yet you can take it on trust that if you’re prone to the heaviest, elemental rhythm and noise, Counterforce offers an unmissable space to immolate the senses.
RIYL Astral Social Club, Merzbow, Hypnobeat, Conrad Schnitzler.
Oooshh! this strange, funky devil is a rare-as-owt gospel soul oddity from Detroit circa f**k knows (maybe late ’70s?), now newly dug out and dusted down as Jazzman’s 26th Holy Grail release. If those quizzical faces or masked dude on the cover haven’t piqued your interest, the music surely will
“Known in the record-collecting world as an incredibly rare album with just a handful of known copies, Jazzman Records present for the first time the full-length album reissue of the Two Sisters From Bagdad album as performed by LaVice & Co.. Originally intended to be sold alongside performances of LaVice Hendrick’s ambitious but ill-fated musical theater production, the album’s scarcity was swiftly ensured as Two Sisters From Bagdad ran for just two weeks at Detroit’s Bethel A.M.E. church amid poor attendances due to scant promotion. With only a handful of copies sold in that brief window, many of the remaining copies were subsequently destroyed in a basement flood, meaning that until now few people have ever heard the album in its entirety.
A varied set of jazz and gospel infused funky soul, Two Sisters From Bagdad was composed and orchestrated by two precocious young talents, E.J. Garrison and Rhodia McAdoo. It’s an album full of surprises, and is notorious for the heavy funk workout Though’s Were The Days. Not only have Jazzman Records unearthed and faithfully reissued this true obscurity as the 26th part of their ongoing “Holy Grail” series, but through interviews with Garrison and McAdoo themselves, they have uncovered the beguiling back story to the music, the play and the life and times of its original creator, the late LaVice Hendricks. As always the detail is revealed for the first time in Jazzman Records’ extensive new sleeve notes.”
Members of Total Control and Grass Widow converge a mannered, almost eldritch-tinted style of synth-pop crossing lines with Group Rhoda, John Foxx, Carla Dal Forno, HTRK
“THE GREEN CHILD is the long distance musical collaboration of Mikey Young and Raven Mahon, who met in 2013 when their bands, Total Control and Grass Widow played a show in Oakland, California. They started writing songs together in Australia in 2014 and the project has been on a slow burn since. Their self-titled debut album is the culmination of few years of putting ideas together internationally and periodically recording in Mikey's home studio. Some of the lyrical content and the band's name was inspired by Herbert Read's 1935 utopian, communist, sci-fi novel called The Green Child.
With such a choice name, it's no surprise that The Green Child draw their sound from an illusory past as much as they stalk into pastures new. Broadly retro-futuristic in scope, verdant acres of lushly evocative synthesizers and blippy drum machines underpin most of their upbeat yet decidedly uncanny songs. Raven's calmly scenic and measured vocal flits like a will-o'-the-wisp throughout the tracks, proffering a guiding hand as she walks us through the often eerie, electronic concoctions.
'Traveler' opens the album all redolent, beat-minded and labyrinthine. Twisting melody lines swirl and envelop like a sandstorm, whilst Raven coolly projects on a "solitary man" lost to "green oblivion". Similarly, 'Her Majesty II' glistens with its playful yet plaintive vocal and iridescent arpeggios, whilst 'Bertha' slows things down with tumbling chimes and stately use of space.
The Green Child are adept at atmosphere, their songs are refined from gently unfolding ideas that never fail to realise and build to their potential. Tracks like 'Walking Distance' (featuring Al Montfort on saxophone) and 'New Years Eve' are exercises in evolved composition with ideas budding off and blossoming into truly resonant dimensions. The band's cover of 'Marie Elene' (by Keith Pearson) and closing track 'Destroyer' are further crowning achievements, both pieces subtly handled with poise and ample melancholic grandeur. The Green Child fix their sights on the heights they want to reach within their songs and much like the project itself don't want to rush to the finish line. When it becomes more about the unfurling journey, why not take the time to enjoy the trip and burn slower?”
A welcome surprise from Nik Colk Void and Peter Rehberg, aka NPVR, 33 33 finds the Factory Floor lass and Editions Mego boss gelling in predictably fractious formation, smudging the boundaries between techno, noise, avant-garde and whatever the fuck else you want to call it.
The results are uncompromisingly abstract, visceral yet completive, finding a balanced, symbiotic equilibrium where neither attempts to outdo each other. Rather, they converse in free-flowing and jumpy dialogue, roiling from the gremlin-chatter electronics and stilted rhythm of Meantime, Pt.4 thru the piercing harmonic chaos of Twin Cases and the ruptured, throaty acidic gargle of Free Founder and the mercurial noise blatz of DEABG (#1 &2) with a logic that will only be properly known by them, but we can all have fun chasing its tail.
One of techno’s most prominent prism pushers follows work on Fever Ray’s 'Plunge' album to open 2018 with the masterful machine control of 'The 3D Printed Songbook', dispatched thru his Stockholm-based personal imprint.
In his highly personalised style of Scandinavian techno dub pressure, Mannerfelt pursues a signature blend of raved-up smarts with cutting-edge sound design into ever more curious, densely packed but spacious gestures on The 3D Printed Songbook by getting ever closer to grips with his elemental electronic material.
Where so much techno can feel like the work of a bored neek pushing blocks on a screen or effectively doing a colouring-in book, Mannerfelt is a sculptor who has picked techno and pure, abstract electronics as his medium, manifesting a sound which works just as well for those who appreciate the tactile sensuality of manipulated noise, as those who love dancing to irregular, warped rhythms and sensational tones.
Here, Mannerfelt blurs those distinctions and contradictions beautifully well, getting into gear with a pendulous but stuttering, sleek and jagged deep house/dancehall curl to open, before circling thru recoiling slow techno, heavy-lidded yet visceral ambient tones, to stripes of viking acid jack and the kind of depth charge dub techno that keeps Mika Vainio’s memory in earshot while unafraid to steer into new terrain.
Ekman comes back to bang on The Trilogy Tapes with a 3rd plate of raw, bloody-nosed electro knockers in Onomatomania after the Entropy (2014) and Aphasia (2015) sessions.
The dutch producer pull few punches between the harsh hydraulic electro-techno of Onomatomania 1, the biting point primitivism of Onomatomania 2, and the grimacing, brutish force of Onomatomania 3, saving the snap jawed acid of Onomatomania 4 to eat whatever’s left on yer bones.
Proper Italo-boogie peacockery from Tuffcitykid Philip Lauer on the A-side’s acid-etched roller Arumba, and the preening ace Prosito
Backed with The Golden Filter on a fidgety electro tip with Aya, and muscular, haughty house in Black Spray.
Zov Zov is the alias for Oliver Ho’s most phantasmagoric, esoteric, invocational sounds and vibes. Since his Ruin Lust 10” for Shifted’s Mira label in 2013, the Zov Zov alias has run concurrent to Ho’s usual techno output and other action as Broken English Club, while this LP also introduces his Desert Burials alter ego on a bonus 7”.
In Fata Morgana he pushes off into the depths of his imagination with a free-roaming style that vacillates gamelan clangour on Casting with more bass-driven, sloshy swag ’n drone in From The Ashes, plus Cut Hands-esque percussive terror on Burning, and a wicked slice of Muslimguaze-style drums and ‘tronics nodding to middle eastern traditions in The Sands.
On the 7” he introduces Desert Burials with the serpentine post-punk dub Cages, and a starker percussive ritual called Clonk reminding of Bourbonese Qualk. We’re not too sure why he’s separated the projects like this, they sound so similar, but whatever, fans of Demdike Stare, Shackleton, Cut Hands will get a good kick outta this package.
A marriage made in dub house heaven, the Accumulate EP is 1st in a series of collaborations between Fluxion and Rod Modell aka Deepchord, to be released via the former’s Vibrant Music label.
Converging from subtle differing yet wholly compatible angles, Deepchord & Fluxion’s Transformations duo explore an elegantly widescreen sound that sounds familiar, yet remarkably altered and uncharted in either artist catalogue.
Layered from fathomless bass pads and swooning string figures, Accumulate runs to just shy of 25 minutes across the two sides, with the 13 minute Pt.1 subliminally flowing and expanding across into Pt.2 in such a lush, hypnotic manner that you’ll almost be irked at having to get up and flip the disc, but then you’ll just flop back and restart the zoot and ride out into its diaphanous, dusky sunset.
An absolute winner from the SKRS INTL camp for Ancient Monarchy, the Paradise Magic Traxx Mobile Sound & Lighting EP arrives in the wake of their RunComeTest EP with a wicked, red-eyed smudge of digi-dub dancehall on a Lovers Rock and R&B slant.
Coagulating some 30 years of sound system styles from the Island in a seamless flow of sawn-off samples and plasmic FX on sloshing subs, the enigmatic Filipino/Canadian project gives up some of the most stickily seductive gear in their decade long catalogue.
Perhaps tricky for the DJs, but great for home listening and parties, the EP is sequenced in untrammelled transitions between its eight parts, but you probably wouldn’t even realise without looking at the track list online. Of course, DJs can use their ears and eyes to pick parts out, but it’s best consumed as a whole, preferably with a 21 minute long zoot and good company.
Not a band who ever do things by halves, this opus from Stars Of The Lid is a mammoth three disc set and is sublime for the entire duration.
You see, although some might level that Adam Wiltzie and Brian McBride have really stuck to the same style since their inception, they have been moving steadily forward with each release and have gone from whispering post-shoegaze guitar drones to something altogether more grandiose.
It would be crass to describe the music as cinematic, but the first thing that strikes me about "And their Refinement of the Decline' is its similarity to the work of Zbigniew Preisner and specifically his work with film director Krzysztof Kieslowski. Stars of the Lid share Preisner's (and Kieslowski's) sense of restraint, minimalism and stark beauty without resorting to sentimentalism. What we have here is beautiful music in its rawest form - horns, strings and that haunting reverb-drenched guitar all perfectly placed and allowed time to breathe. Nothing here is rushed, you hear passages rise and fall gloriously, sounds make an entrance and slowly disappear and nothing ever dares to outstay its welcome.
Arvo Part, Gavin Bryars or Brian Eno would all be more than appropriate comparisons for this stunning collection of work, but Stars of the Lid are almost at the point where they defy comparison altogether. Of course they have introduced further, more overtly 'classical' elements into their mix but the music they are making is quite uniquely their own - they are one of those rare bands that has absolutely defined a sound. What we are hearing is frankly two musicians who are at the top of their game, sharing their carefully measured view of the world with us and allowing us a peek into musical perfection - and you really can't ask for anything more than that.
Marking 20 years of Prurient and Hospital Productions’ concurrent paths, the epic 3 hr 20 minutes of Rainbow Mirror inarguably ranks among Prurient’s most compelling statements. While still the blood child of Dominick Fernow, the album’s massive scope demanded more hands on board, with Jim Mroz (Lussuria) and Matt Folden (Dual Action) lending their expertise before post-production by Shifted and mastering by Paul Corley cemented this towering work of Doom Electronics for the ages.
Offered up as ‘a portrait in perpetual tension’, and housed in cover art created as the first collage in the pre-recording era of Prurient, Rainbow Mirror draws on the project’s roots in order to locate itself in the modern day. What it finds in the process is that little has changed since Prurient and Hospital Productions’ conception in ’97 - the world is still a torrid, evil mess beyond control, and one that needs notions like Prurient to try and define its heaving mass more than ever.
Like Frozen Niagara Falls before it, echoes of the old world riddle the long, stark corridors of Rainbow Mirror, too. But here those echoes are more fragmented, distant and entropically obfuscated, emulating the effect of trying to find your own image in a hall of mirrors, or locating yourself drowning amid the clamour of more than 3 billion other people online, all saying the same, mundane shit at the same time.
With a length and intensity proportionately reflective of the world’s increasing socio-political tension and rate of homogeneity, Rainbow Mirror holds firm as a space to immolate the senses in preparation for the ever nearing eschaton.
Leading on from a highly memorable debut collaboration, Crys Cole and Oren Ambarchi invite us farther into their shared world with Hotel Record, a poetic four-part suite of touchingly intimate and romantic themes framed in a surreally unique, aleatoric sound world, just as you’d be warranted to expect from this pair of esteemed sonic alchemists.
Recorded between Ko Pha Ngan, Thailand; Oakland, USA; Melbourne, Australia, and at EMS, Stockholm, Sweden, the sense of heavy-lidded intimacy is similar to Sonja Henies Vei 31, but found in a multiplicity of recording spaces and situations, each with their own subtle identity and appeal, and all generated from a broader palette of instrumentation and electronic production techniques.
The chorus of cicadas, scooter engines and croaking frogs in Pad Phet Gob is clearly located to nighttime in Thailand, but the rest are anyone’s guess. It’s better to just let yourself melt into their exquisite designs, such as the silky web of vocoder whispers and languorous subbass contained in Burrata, or likewise become absorbed in the gentle harmonic cadence of breathing organs tones and mottled, glossolalic murmurs in Call Myself, which ambiguously could be a sort of ASMR exercise, an encrypted document of phone sex or pillow talk, or something entirely else, all depending your disposition.
It all adds up to a patently more accessible, dreamy follow-up to their first LP together, and quite easily one of the most quietly seductive records you’ll hear from the abstract, ambient, electro-acoustic sphere this year - strongly tipped to fans of Félicia Atkinson’s Hand In Hand, Kassel Jaeger & Jim O’Rourke’s Wakes On Cerulean, or the new Teresa Winter side.
One of Berceuse Heroique’s most reliable troopers plays into a deeper vein of bass-driven techno-house for the stalwart underground label after deposits made with Hemlock, Peder Mannerfelt Productions, Clone Basement and Livity Sound in just the last 12 months alone.
In Hodge’s now signature style of gritty groove control, he tees off with the furtive bleep techno rolige of Beneath Two Moons, reinforced 1990-style bleeps with muscular bass until a steaming siren/train sound shifts it up a gear to hypnotic drones and flying hi-hats ready for the Dj to mix out.
On the other hand, There Is A Storm Coming In lives up to its title with a tense, brooding display of industrial EBM influences, and Don’t Hold Your Breath tucks the vibe somewhere to the left of Levon Vincent and the right of Call Super with raw but classy strings and heaving subbass, before the beatless All Is Not Lost fades to close.
Slimzee’s OG grime label boomerangs back with badness from pivotal new wave player Boylan.
They’re both fucking lethal, riding big and bashy with search ’n destroy mentasms, hulking great subs and unflinchingly upfront sound design of Overlook, then trimming back to a molasses half step with the radioactive mid-range waves and Hermann-Esgque strings terror on They Mostly Come At Night.
Gully gang. It’s yours.
Invada present the soundtrack to Stranger Things 2, produced by S U R V I V E’s Kyle Dixon and Michael Stein.
Expect plenty shlocky ‘80s FM synth cues and themes bound to yank your nostalgia nozzle.
None-more-vital East African label Nyege Nyege Tapes present Otim Alpha’s melodic electro Acholi bangers on vinyl for the 1st time, following that blazing, acclaimed Sounds of Sisso compilation!
Alpha’s debut international release Gulu City Anthems features 11 songs written and recorded between 2004 and 2015 in Northern Uganda and ranges from hi-velocity bangers to more romantic mid-tempo swagger, all serving a totally infectious showcase of his plugged-in take on traditional Larakaraka wedding music that’s bound to get a lot of listeners itching for a +1 invite to one of his ceremonial sessions (crashing is always an option, too!).
Working with producer Leo Palayeng, Otim essentially computerises Acholi wedding music, weaving its traditional, see-sawing folk fiddles and call-and-response vocals with stripped, pounding drum machine polyrhythms in a sort of hypnotic, minimalist delirium. For the most part, it’s properly uptempo, with some searing highlights in the likes of his wickedly off-kilter jig Kodi Pa Barikiya (Kwan), the jabbing clash of almost cajun-style rapidfire riffs and turbo-charged toms in Toni G, or the Detroit/Chicago ghetto-compatible bang of Too Wiye Ming-Alphazo. But there’s also one super-charming piece called Agiki Ne Tye which works at a relatively leisurely 120bpm with strolling bass and bright, joyful chord cadence, presumably intended to allow the party a sweet breather.
Following Alpha’s recent, stellar introductory live show at Unsound ’17, this collection is set to impress his sound to eager ears beyond Uganda and the East African scene, and is surely destined to be lodged in record collections somewhere between your Shangaan, Konono No.1 and Caribbean soca faves - in other words; your party-starting section...
South London soundman Parris stacks up four signature cuts of low key, crackly, sub-heavy vibes on his subtly probing debut with The Trilogy Tapes after really coming into his own over the past few years via 12”s for Ancient Monarchy, Idle Hands, and Hemlock, plus the ace TX280916 / TX111116 mix for Keysound.
The 2 Vultures EP catches Parris at his idiosyncratic best, hustling an early hours-of-the-dance feel that works beautifully well at setting mutable, plasmic pressure for heavier things to come, or just as well for eazing off in the comfort of your own space.
EP opener Lionel’s Dub is one the most orthodox, classically-rooted dubs we’ve heard from the guy, something like a dusty echo of Adrian Sherwood at his most red-eyed, whereas Hot-Blooded gets down to some Farben-esque micro-house with added steppers bass pressure. 2 Vultures then follows a masseur path into melting, brittle dub architecture, leavened by genteel jazz touches, and Hanging With The Birds can’t fail to leave you beaming its feathered confection of bird calls, bobbling bass and Mario power ups.
IDIB serve a belated, expanded 10th anniversary reissue of Chromatics’ Nite, including the title cut and instrumental backed with three new cinematic themes and cues.
Yet another pearl in Johnny Jewel’s velvet lined cabinet, Nite is a buttoned-up, shine-eyed disco ace pairing Lena Okazaki’s droll vocal over stealthy disco bass, eventually turning into a proper piece of post-punk disco delirium, ditto the instrumental but sans vocal, while Glass Slipper catches a slick fusion of Arabian Prince-style vocoder and Moroder-like bass arp.
The new cuts are ace, too. Birds Of Prey is a darkly evoctive instrumental vignette, whereas the heavy-lidded vox and spindly synths ’n strings of Sleepwalker wouldn’t sound out of place in a classic ‘80s horror, and the melancholy dream-pop of City Beds comes off like the accompaniment to some tear jerking break-up scene or loveless bed-hopping montage - take your pick.
Lakker’s Eomac gives it some swagger on the 1st 10” from Bedouin Records’ Bastikaya Tapes.
With One Spirit he trades in a sort of itchy, abraded 2-step techno alloyed with whirligig folk melody.
On Observe The Vessel Beneath You he reshapes that template to a scratchier swang embedded in etheric atmospheres, perhaps imagining Burial lost a souk after-hours.
Tia Maria Produções member DJ Lycox goes solo in a big way with debut album Sonhos & Pesadelos for the resoundingly influential Príncipe label.
With the delicious swerve and layered lushness of Sonhos & Pesadelos, the debut album by Príncipe’s Parisian ambassador DJ Lycox, sets a new high water mark for the label and its collective sound.
Indulging a bank of fleshly synths more than many of his label mates and peers, but at no sacrifice to his rhythmic push and pull, the sound is practically compatible with deep house and UKF as much as the frenetic styles of Nidia Minaj or the tuffness of DJ Marfox, for example.
Across all 12 tracks he modulates the vibe with expert groove control, oscillating between hypnotic future folk lixx and infectiously knotted drums in Weekend to a debonaire spin on deep house swagger with Domingo Abeçoado or Solteiro, skipping from the blazing tropical heat of Virgin Island and Paragons Moh Baba to something you could almost imagine Marcus Nasty playing on Nichako, Sky or the steely reinforcement of La Java.
But if you’re looking for out ’n out raving madness, you’d best check the blinding shockout Quarteto Fantástico and the searing hard-style leads of Ferrero for the most upfront bangers.