Beggars Arkive reissue of The Fall’s 10th studio album, 1988’s THE FRENZ EXPERIMENT.
"The reissue contains the original album, plus singles and B-Sides. The CD version also includes a previously unreleased 4-track BBC session and “A Day In The Life”, a Beatles cover recorded exclusively for the NME charity compilation Sgt. Pepper Knew My Father in 1988, plus a 24-page booklet with new interviews. The LP version contains extensive sleeve notes with new interviews. The notes included with both formats contain brand new interviews conducted by Daryl Easley in May 2020."
After 44 years, a rare piece of South American electronic music history resurfaces for first time, remastered at Berlin D&M after recently being highlighted by KFW’s Creel Pone CDr series
“MESÍAS MAIGUASHCA (b. December 24th, 1938 in Quito / Ecuador) is a composer of Neue Musik, especially electroacoustic music, who studied at the Conservatorio Nacional de Quito, at the Eastman School of Music in Rochester, NY (1958–65), with ALBERTO GINASTERA at the Instituto di Tella in Buenos Aires, at the Hochschule für Musik in Cologne and, after a short return to Ecuador, attended the Internationale Ferienkurse für Neue Musik in Darmstadt and the Fourth Cologne Courses for New Music in 1966–67 where he studied with KARLHEINZ STOCKHAUSEN. From 1968 to 1972, MAIGUASHCA worked closely with STOCKHAUSEN in the Electronic Music Studio of the Westdeutscher Rundfunk in Cologne and joined STOCKHAUSEN's ensemble for performances at the German Pavilion at the Expo '70 in Osaka. In 1971 he became a founding member of the OELDORF GROUP of composers and performers, and began work at the Centre Européen pour la Recherche Musicale in Metz, at IRCAM in Paris, and at the ZKM in Karlsruhe. From 1990 – 2004 MAIGUASHCA was Professor of Electronic Music at the Musikhochschule of Freiburg im Breisgau where he still lives today.
„Maiguashca … is part of the first generation of South American maverick sound explorers that in the 1960s paved the way for a tradition of innovation that persists in the present noise and psychedelic scenes of the continent. Along with Edgar Valcárcel, César Bolaños, Beatriz Ferreyra, Mauricio Kagel or José Vicente Asuar, he contributed to expand the possibilities of musical language beyond the dominant Western canon …“ David Jarrin / Kraak Festival”
GAIKA's latest set was recorded in Puerto Escondido during a Mexican tour, and the collision of sounds is a subtle revelation.
NAAFI's finest appear on production duties - TAYHANA, OMAAR, Lechuga Zafiro, Zutzut, Wasted Fates, Debit and Lao - anchoring GAIKA's hazy poetry in an unmapped location that's a hyperspace leap from his usual South London base. It's a vital matchup, dripping syrupy, weightless outlines of dancehall, reggaetón and smudged Mexico City club over GAIKA's fleshy ASMR whispers and quietly pushing the limits of what pop might suggest or represent.
The TAYHANA-produced 'Of Saints' starts things off slowly and sexually as the Argentinian producer's glassy PS1-boot-screen melancholia underpins GAIKA's lusciously annunciated words. 'Lord Zemel' pits the rapper against Lechuga Zafiro's slithering, bass-heavy neon flicker, while the Zutzut-produced 'Brutal' vaporizes a dancehall banger, suggesting spiritual kinship with Felix Lee's fantastic "Inna Daze". "Seguridad" is sci-fi futurism for fantasy airlock isolationists.
Shamos takes his debut album bow on Youth with a classy set of furtive synths and sneaky drum machine swagger steering away from the ‘floor to your headphones and late night city streets
‘Music For Broken Adverts’ is biased toward the moodier ends of Shamos’ styles for Apron and two self-released tapes on Role Model, taking stronger cues from ‘80s/‘90s cinema and anime soundtracks, offbeat wave and ambient techno, to finesse a fine line of dark cyberpunk moods and grooves.
Dance trax are there if you need them in the staccato electro-breaks of ‘Baby Birds Flying to Satan’, and the scudding lowkey zinger ‘Try Taking To Water’, but they’re best taken as cogs in the machine or scenes in a broader narrative, from the gorgeous middle-distance gaze of ‘Advert 1’, to Caroline K-esque stately procession of ‘FFF’, and like Legowelt meets Pametex in the deep electro creme of ‘Rihiyil’, replete with ace credits sequence ‘Rethink That Conclusion’.
Final Fantasy soundtrack composer Yasunori Nishiki joins Anastasia Kristiansen, Yamaneko, Ziúr and more to remix superstar games soundtrack designer Lena Raine’s debut solo album for Local Action
Yasunori Nishiki’s gloriously melodramatic breakbeat reworn of ‘Light Rail’ is no doubt a big attraction for the gamers and those who know Lena’s award-winning work from that world, including their breakout indie success ‘Celeste’ and recent Minecraft updates. They’re joined by Finnish composer Jukio Kallio, who also worked on ‘Celeste’ and supplies a hyperpastoral-pop spin on ‘Wake Up’ here, while the dancefloor is left to Anastasia Kristensen and her grouchy breakbeat-techno take on ‘Trance State’, and Al ‘D’Anthoni’ Wooten (Deadboy) cushions the breathy dreampop of ’Tsukuyomi’ in creamy subs and feathered city-pop ambient styles.
Under the pseudonyms 4 A.M. and Beat Per Bar, Lupos Sobre-Vega released two eccentric 12”s, of what, in retrospect, can be called vernacular house music.
"Both records are individualistic collisions of New Wave, Bass, Freestyle, Hi-NRG, Acid, and Sample House recorded in Sobre-Vega’s home studio in Orange County, Los Angeles. Using a Yamaha QX-5, Roland S-50, his mom's Roland Juno 60, EMU drum machines, and Yamaha DX-7, he put his nascent jazz chops to use and laid down the idiosyncratic dance tracks that he would self-release on his own label, House Hold Records, in 1988 and 1989 respectively. Although both 12”s were credited to groups, Sobre-Vega confirms that “the so-called band members were club friends. A couple were models and actors, or just plain good ol’ dancers. They were strategically picked by me, of course. So yeah, 4 A.M. and BEAT PER BAR are 300% me. There is no other.”
Despite working within the confines of dance music’s ready-made rhythms, Sobre-Vega’s sensitivity transcends the inarticulate 4/4 beat - vulnerable, idealistic and yearning. The timeless themes on the records reveal his youthful worries about money, intimacy, love and sex. Looking back at dance music history, it is luminaries such as Arthur Russell, Sylvester, Grace Jones, Theo Parrish, and Larry Heard, that stand out as enduring visionaries that transcended stylistic trends. Mixed Signals is proud to illuminate Sobre-Vega’s work in the constellation of dance music’s radical dreamers with this EP comprised of two songs from each his scarce and singular 12”s"
“In today’s world, it’s harder than ever to let go & find sleep. So kick back and let this pastel soundscape from the NYC synth rocker, TM™ ? drift you off to dreamland like it was 1984...” -Tommy Mandel
"New York synth magician Tommy Mandel has an astonishing career as a composer, sideman, and electronic pop artist. Since the late 1970s, he has toured or recorded with a laundry list of talents including Todd Rundgren, The Clash, The B-52s, Tina Turner, Cyndi Lauper, and countless others. Yet it is Mandel’s solo pioneering keyboard work that has captured the attention of Invisible City, first documented on the Mello Magic compilation of his largely unreleased new wave explorations. Now, the label follows it up with an even more scarcely heard project, working in cooperation with Mandel to reissue his 1984 private press cassette, Music For Insomniacs. Recorded on four-track, each of the album’s eight songs is inspired by a wave of sleep from Alpha to Theta. Its playfully psychedelic sound features shimmering synths, baked electronics, soft drum machines, and various vocal treatments guiding listeners into a peaceful slumber. Yet Mandel can’t resist adding traces of abstracted boogie-funk with propulsive rhythms that will keep you dancing through your dreams. Fans of Mort Garson, Woo, Brian Bennett, Angelo Badalamenti, Klaus Schonning and Bruce Haack will rejoice at their new sleepy time soundtrack." - Jesse Locke
Hull/Leeds based five-piece bdrmm release their much anticipated debut Bedroom.
"The 10-track album was recorded late last year at The Nave studio in Leeds by Alex Greaves (Working Mens Club, Bo Ningen) and mastered in Brooklyn by Heba Kadry (Slowdive, Beach House). It’s a hugely accomplished debut and a real step up both sonically and lyrically from their early singles, which were rounded up on last year’s If Not, When? EP.
Musically, there are nods to The Cure’s Disintegration, Deerhunter and DIIV, while the band reference RIDE and Radiohead. There are also echoes of krautrock and post-punk, from The Chameleons to Protomartyr, plus the proto shoegaze of the Pale Saints’ The Comforts Of Madness, not least in the cross fading of some tracks, meaning the album is an almost seamless listen. As a result, Bedroom becomes an unexpected and unintentional concept album, running through the different stages of a break-up set against the backdrop of the ups and downs of your early twenties. “The subject matter spans mental health, alcohol abuse, unplanned pregnancy, drugs… basically every cliché topic that you could think of,” reveals frontman Ryan Smith. “But that doesn’t mean they ever stop being relevant. It’s a fucker growing up, but I’m lucky enough to have been able to project my feelings in the form of this band, surrounded by four of the best people I’ve ever met.”
And that band name, in case it needs explaining, is pronounced the same way as the album title. “I never thought I’d get to the stage where I would have to explain it so much,” says Ryan. “We have been pronounced as Boredom, Bdum and my old boss thought we were a ska band called Bad Riddim. We’re all sarcastic cunts, so Bedroom spelt correctly seemed like the perfect title.” He’s right. The perfect title for the perfect debut album."
Pierre Elitair is Antwerp’s loudest and oldest DJ; now 60 years old, his weekly Radio show has been on air since the early ’80s and was the first to ever play acid house in Belgium. His legendary Sunday afternoon slot, usually hosted after a sleepless, drug-fuelled night, saw him interview prostitutes, musicians, very sick people, beer brewers, DJs, night crawlers and basically anyone around. All this on-air activity resulted in a mountain of undated cassettes of which this record is a product of, all previously unreleased drum machine jams, new beat, DIY punk and improvised lunacy - a proper curio, completely our kinda shit.
One of the only artists (to our knowledge) to have recorded for both a bunch of techno labels and Ultra Eczema, Pierre Elitair is renowned for playing practically every discotheek and club in the country. His week-ending show ‘Radio Ventraal’, broadcast on Radio Centraal, was a “legendary freakshow” according to UE madhead Dennis Tyfus, with “hosts storming the station every Sunday afternoon, usually after a sleepless night and lots of XTC”, and as you’ll hear across these nine gobs of sputtering jakbeat and variations on punkish acid and new beat, they come from the top shelf of beery Belgian lunacy.
Dug out from stacks of old tapes by Dennis Tyfus, ‘Pierre Elitair’s Digitised Cassettes’ effectively goes above and beyond recent remits of new beat compilations and reissue series from likes of TSOB and Stroom to reveal a key, if lesser known node of that culture to keen ears beyond the tidgy country that punched well above it’s weight during this period. Expect to hear Pierre going wild over the likes of ‘French Kiss’, and jam out his own frazzled take on ‘Pump Up The Volume’ alongside some uniquely crazed no wave acid skronk like ‘Le gendarme de la gendarmerie’ in one of the most charmingly mad and mucky doses of DIY brilliance we’ve heard all year.
Nairobi, Kenya’s KMRU debuts on Mego with a suite of serene ambient scenes after emerging with Four Tet-like electronica releases in 2019 and recently starring on ‘Alternate African Reality - Electronic, Electroacoustic And Experimental Music From Africa And The Diaspora’
Known as Joseph Kamaru to his pals, KMRU was hailed by RA as one of ’15 East African Artists You Need To Hear’ in 2018 and is a regular performer at Nyege Nyege Festival in Uganda, beside performing at CTM and Gamma Festival. For his Mego release ‘Peel’ it appears he’s been listening to label hero Fennesz, the Austrian experimental guitarist, or Will Long aka Celer, with whom his tracks share a certain, longing melancholy in their long, sighing arrangements of glistening and creaking ambient pads and mournful post-rock/cienmatic elegance.
“The subtle calming atmosphere within Peel belies the compositional prowess as layers of delicate sounds wrap around each other creating a hybrid new form ambient musics both captivating through it’s textural depth and kaleidoscopic patterns. The track titles lend themselves to the themes and mood set within: Why are you here, Well, Solace, Klang, Insubstantial and the title track. This is a deep heartfelt journey with a new strong voice being expressed through the means of organically presented electronic ambient sounds, one which reveals further layers on repeat listens.”
Music composed for SKALAR, an audio-visual kinetic art installation by light artist Christopher Bauder & Kangding Ray.
"SKALAR is a large-scale art installation that explores the complex impact of light and sound on human perception. Created by light artist Christopher Bauder and musician Kangding Ray, this monumental artwork is a reflection on the fundamental nature and essence of human emotions. By combining a vast array of kinetic mirrors and perfectly synchronized moving lights with a sophisticated multi-channel sound system, SKALAR offers an audio-visual narration of radiant light vector drawings and multi-dimensional sound in enormous pitch-dark spaces.
SKALAR is an intense journey through the cycle of basic human emotions. Everchanging tonalities trigger the full spectrum of emotional experiences using light, sound, and motion. The feelings of awe, surprise, exhilaration, and anticipation of having one’s senses overwhelmed are created, explored, and repeated in cycles throughout the piece, providing a collective, yet highly individual emotional experience.
Light and darkness as endless cycles of day and night define our perception of time and influence our emotions. SKALAR is a central piece within light artist Christopher Bauder’s body of work, reflecting his deep fascination with light. In this gigantic installation, light is treated as a solid material that can be dimensionally sculpted and shaped, evoking abstract emotional associations. Intertwined with the tireless exploration of textures, rhythm, and sound design by musician and composer Kangding Ray, the silence of darkness is filled with iridescent forms of spatial light and sound."
Spellbinding return of Belgium’s Orphan Fairytale with a new chapter of surreal “ambient” compositions induced by lockdown’s slow burning cabin fever
‘Titania Moon’ allows four glimpses of Eva Van Deuren’s wyrdly enchanted inner life issued in parallel to her side of harp music for the excellent Kraak Records. She conjures sprawling back-of-eyelid vistas with a warbly BoC-like wow and flutter and worldly, folksy elegance in ‘Boerzoem’, and a delectable piece of lysergic magick recalling Teresa Winter visions with the feely synth fronds of ‘Octopus in Orbit’. Again her sorcery works best given time to settle in as the 11 mins of floating synth phantasms and plasmic vox unfold in ‘brieno dodoens’, and her iridescent vignette ‘Luminous Creatures’ threads the finest line of sinister whimsy recalling Ectoplasm Girls and Elodie.
“First first-length release in eight years by the leading lady of sadtronics, psychedelic harmonies and blurred-out therapy tunes! The glass is never half empty and it’s overflowing right now. Eva Van Deuren scrubbed away her past with a neon pink sponge to create a hyperreal album of old-skool fairytale sadness for Ultra Eczema, and simultaneously a harp-based record for our pals at Kraak Records in Ghent. The covid-19 crisis seems to be the catalyst for an abundance of creative madness; deadbroke but ready to gogo. Titania mask replica!”
Martin Rev's fifth solo album - Strangeworld - was released on the cusp of the new millennium. The label responsible was Puu, a Finnish imprint belonging to Tommi Grunlund and Mika Vainio's Sahko Recordings which came to fame in the 1990s on the strength of its uncompromising minimalist sound.
"Four years earlier, in 1996, Rev had unleashed See Me Ridin, an album which surprised its listeners with keyboard melody sketches and distilled doo-wop compositions. It was also the first solo album to feature Martin Rev on vocals. Strangeworld started where its predecessor left off. Melodic passages dissolved into a thicket of fragments and set pieces, coalescing in a celestial shimmer between rhythm loops and Rev's voice, which assumed the role of an additional instrument rather than a standard singing part."
David Webb’s hypnotic and raw Elevate 12” from 1994 reveals an overlooked region in Detroit’s seemingly-endless musical landscape, linking the narcotic minimalism of Theo Parrish’s Ugly Edits with the uninhibited, spontaneous, and jazzy jamming found on J Dilla beat-tapes.
"Raised in the musically fertile and adventurous atmosphere of Detroit, Webb got his start as a mobile DJ while in high school during the late 70’s. Captivated by the local boom of soul, funk and disco, he’d frequent the social clubs, soaking up sounds. His earliest experiments in mixing led him to form a DJ crew with his pal Paul Johnson. Paul enlisted a friend, Jeff Mills, pre-Underground Resistance, to join the trio and they called themselves Frequency Sounds. The three would play underground parties and college events for Michigan State students. Throughout the 80’s, Webb and his friends would play at the local clubs around town, like 431 East (now called Saint Andrews), where he played alongside Ken Collier and other Detroit legends. Each week he found new sounds at his local record shop Buy Rite Records on West 7 Mile, where he’d dig for Italo, New Wave, Disco and House, buying 12”s from labels like Prelude, Trax and Beggars’ Banquet on sight.
Webb’s earliest experiments with producing his own sounds started when he bought an Echoplex and ASR-X Drum Machine. During his sets he’d add live effects & rhythm to his favourite songs. This led to building a mini home studio where initially he would record all his songs overdubbing on two tape decks. Two of his earliest experiments, Elevate and Who Am I? Were self-released as a small- run promo 12” that he would hand out to his friends and local DJs. Webb quickly sold out and gave away the pressing, and he would often hear it played by DJs around town, but over time it drifted in the margins, as an obscure footnote in the history of Detroit Techno. Mixed Signals is proud to bring this important record back into circulation, seducing a whole new generation of DJs and dancers with Webb’s dark and silky pleasures."
Fourth vinyl installment for the duo, 'Iwa Gaaden' is also their third collaboration with Random Numbers.
Pushing forward their commitment for processed field-recordings, micro-samples and poly-rhythmic patterns, this 5 long tells a singular and dark tale about spirits and revenge. Mixing contemporary techniques and ancient sonorities, martial marches meet ghostly rave-esque rituals. A club ready but cinematic oriented odyssey, a pitch-black ballad in the Iwa Gaaden.
Martin Rev's fourth solo album See Me Ridin' was released on the New York label Reachout International Records (ROIR) in 1996.
"Received by the critics with amazement, it proved to be a watershed moment in his career. Martin Rev's vocals are as minimal as they are sentimental, wonderfully poetic like a latter-day Chet Baker perhaps, or Jonathan Richman. This solo album not only blindsided Rev's critics and fans alike, but also painted a personal, nostalgic portrait of his home, New York; fading out the noise and contradictions of the city to channel the romantic energy of the metropolis."
Growing up in Milton Keynes, the largest of the "new towns" outside of London designed and built in the 1960s, perhaps explains why producer Nicholas Worrall is subconsciously drawn to clearly delineated sonic structures and flawed techno utopianism, two concepts that are ever present in both his sound and aesthetic approach to music.
"Wordcolour was formed just two years ago, at a time when Worrall was habitually cutting up and splicing human voice samples ripped from YouTube memes, film dialogues and musique concrète tapes.
The first artistic demonstration of these ideas arrived in 2019 via his mixtape “I Want To Tell You Something” for the Blowing Up The Workshop platform. This unique set immediately grabbed the attention and support of the specialized music press and media, including Pitchfork and Resident Advisor.
“Tell Me Something” is Wordcolour’s official debut EP and heads straight for the dance floor. It is comprised of an unusual melting pot of influences that fuse the UK club sound, post-dubstep and a style akin to Paul Lansky's ‘90s musique concrète. “Tell Me Something” offers a vibrant leftfield, avant-garde techno and edgy electro, all immersed in the vast cosmos of the human voice."
Two years since 'Splazsh' topped a stack of annual polls, Actress presents his 3rd, and most coherent album, 'R.I.P' - his 2nd for Honest Jon's.
Despite being a vital cog in the machinery of underground UK dance and electronics since at least 2004 (when he released his 'No Tricks' debut), it's fair to say that it's only in the last few years he's made the shift from cult concern to acknowledged auteur of some repute. His work with Damon Albarn's DRC Music, beside a legendary DJ set at Sonar and killer remixes of Shangaan Electro, Panda Bear and Radiohead all certify the fact; so expectations are no doubt set high for 'R.I.P'.
Produced exclusively on hardware and inspired by Milton's classic poem 'Paradise Lost', he's arranged his most labyrinthine, esoteric release to date; a timeless set of 15 tracks traversing crystallized radiophonics and subterranean Techno with a psychedelic sideswipe that leaves us dazed and beguiled. By assimilating machine-like characteristics - his notions of "seeping yourself liquid into the machinery" and "I'm just an instrument, I'm completely dead when I write" - he's become an interpreter, a symbiotic conduit of semi-lucid visions into the interzone whose revelations contain the potential to manipulate your consciousness in magical ways compared to the prosaic intentions of so much bland and overwrought electronic music out there.
The newfound clarity and fluid narration of 'R.I.P.' makes this the most intriguing chapter in the Actress saga so far - an unmissable experience.
With an impact that belies the Kentucky combo's mayfly like existence, Slint set about cheery picking elements from Punk, New Wave and classic Rock then reassembled them so as traditional notions of pitch, rhythm and timbre didn't apply.
Predicting the Post Rock of Tortoise by almost half a decade, the likes of 'Nosferatu Man' and 'Don, Aman' show just how heavily the likes of Mogwai and godspeed you black emperor! are indebted to their sound. Including the classic heartbreak squall of 'Good Morning, Captain' (whose DNA is all over Beck's new album) there's never been a better time to investigate Slint and play dot-to-dot through the post-rock elements of your record collection.
New on Smithsonian Folkways; Leyla McCalla’s ‘Vari-Colored Songs’ - a celebration of the complexity of Black culture and identity, and a tribute to the legacy of poet and thinker Langston Hughes.
"A songwriter and multi-instrumentalist, McCalla sets Hughes’ poems to her own spare yet profound compositions. She juxtaposes these with arrangements of folk songs from Haiti, the first independent Black nation and the homeland of her parents, tapping into the nuances of Black experience.
McCalla’s music elegantly weaves Haitian influences together with American folk music, just as Hughes incorporated Black vernacular into his remarkable poetry, and the way the Haitian Krey l is a beacon for the survival of African identity through the brutal legacy of colonialism. This is music of reclamation, imbued with a quiet power that grapples with the immense weight of history."
Capturing sounds from the environment has become an essential part of KMRU’s creative process resulting in emotive ambient, geographic soundscape experiments.
"For Erased Ep, he combines everything from gritty, indigenous field recordings to piano to 303. Each track evolves at a deliberate pace, starting off with Erased that builds up as the tones overlap and the rhythms build, leading to the ‘Solus’ where KMRU layers sounds recorded from his living room to his ‘shamba walks’ adding synthesized drums. The track slows until the moment feels all but frozen in suspended animation. Finishing with Unkind which is his favorite, he uses field recordings and foley sounds to evoke more than emotion on this unkind track. Creating neutral sounds from a subtle piano and synth improvisation from his Korg minilogue.
Nairobi-based producer Joseph Kamaru, better known under the name KMRU, is notable for making intelligent atmospheric and emotionally evocative electronic music. His sonic identity has evolved alongside his journey from classical guitar to production. Using everything from gritty, indigenous sound to recorded ‘atmospheric noise’ or intricate sonic landscapes. Capturing sounds from the environment has become an essential part of his creative process resulting in emotive ambient, geographic soundscapes, electronica, and even techno."
Keith Kenniff’s output as Goldmund has established him as one of the preeminent composers of minimal piano-based music alongside peers like Hauschka, Dustin O’Halloran, and Ryuichi Sakamoto, who himself once described Kenniff’s work as “so, so, so beautiful”.
"His recordings tread sincerely along paths laden with dusty timbres, diffuse synthesizer, and soaring string textures tinted by the muted glow of a cloudy analog sky above. On The Time it Takes, Goldmund’s newest book of aural polaroids, Kenniff somehow manages to deepen the emotionality of his already affecting project, creating a space in which to unfold the sorrows of a troubling age and revel in the hope and beauty that follow thereafter. In this sense, The Time it Takes tackles grief head-on, unadorned by themes of escapism or pastorality, and marks another entry in an impressively consistent body of work.
From the first murmurs of its opener “Day in, Day Out”, The Time it Takes calls to mind the cascading nature of mourning. There’s the first tragedy, the loss itself, then the second one, the dissipation of the memory of the thing lost. We start out grieving for a loss directly; years later, sorrow reappears not only for that loss, but for the idea that its meaning is slipping away with each turn of the calendar page. An aged piano thumps gently just beyond an impassable moat of time, its operator’s presence is evidenced by the shuffling of pedals and the shifting of mechanisms, and seraphic choirs seep in from places unseen. It’s a miniature diagram of how the outer world transitions to the inner, and vice versa. “Memory Itself” follows suit with earthy textures that become slowly buried by celestial ones as the seconds pass. Kenniff’s kindling of piano is gradually set ablaze with synth, choir, and trilling strings provided by his equally emotive labelmate Christopher Tignor. The track is a crescendo that imparts an equal amount of dread and relief depending on the mood of the listener.
Like much of The Time it Takes, “Respite” is true to its title, but not because it leans on New Age aims of comfort and relaxation. Deeply fervent, it instead reflects the kind of emotional relief that can bring someone to tears if they’re lucky enough to stumble upon it mid-crisis. Conversely, the subsequent “Rivulet” crouches in subdued concern and uncertainty amid deteriorated synths that howl down darkened hallways. “The One Who Stands By” approaches a similar sense of subtle menace. With its lilting arpeggio, pulsing bass, and scraping drones, the piece anxiously marches toward some severe and unresolved dilemma. Earlier in the sequence, tracks like “For Old Times” investigate the serene sides of woe and yearning that form the core sentiments of the album: missed chances to share things with people who’ve passed on and are forever lost to the past; small internal battles quietly won or lost, but never spoken of; a heavy rain followed by sideways afternoon sunlight that imparts just enough awe to make you feel okay with your unnoticeable role in it all.
As if we needed convincing, Kenniff further proves his skill of crafting sound-design vignettes that are personal, private, and hushed, yet simultaneously grand, colossal, and profound. Nostalgia sometimes suffers the role of low hanging fruit for the marketing world, or worse, a symptom of the stunted development of a generation facing backward in a world that moves unrelentingly forward. But instead of engaging in reductive and culpable pastiche, Kenniff dispels any notions of nostalgia’s counterproductivity by using our collective memory as just another brush to paint with, thereby wresting his music from any linear cultural timeline. To that end there are few artistic voices as distinct as Goldmund’s. Magically conjuring grandeur from only a few simple ingredients (piano, synthesizer, reverb, and a little more) Kenniff’s sound has become so universal that you'd be forgiven for not knowing who it belongs to. Knock offs be damned, every Goldmund recording is cut from an inimitable fabric woven out of emotional realism, honesty, vivid imagination, and skillful restraint."
Creamed silicon strokes from Japanese synth fondlers Satoshi & Makoto, coaxing melodic chatter from their 1985-vintage CZ-5000 model for Young Marco’s label
Making the most of minimal means, the duo’s 2nd volume of ’CZ-5000 Sounds & Sequences’ is ripened for solitary home listening and autumnal strolls with some of the label’s quietest, humblest gems full of nostalgia for futures past. In 10 parts their silky digital strokes blush and glitter with coy sensuality, gently lighting up your neural pathways with vibrant, Sakamoto-like melodies and, ocassionally, some warbly grooves that recall vintage Rephlexians stripped down to essentials. Check for the lip-smacking arps of ‘Kaas’, the ASMR-tingly pads of ‘Reconstruction’, or the delectable harmonic keen of ‘Updraft’ and you’ll know what they’re all about.
Yo La Tengo return with an EP comprised of the new original track “Bleeding” and five covers written by Bob Dylan, Carole King and Gerry Goffin, The Delmore Brothers, and more.
"The new album includes original cover artwork by renowned Japanese artist Yoshitomo Nara along with an etched illustration by YLT’s own James McNew on the disc’s b-side.I t follows the debut of Los Angeles County Museum of Art’s Yoshitomo Nara solo exhibition and corresponding catalog, which includes the six new Yo La Tengo tracks along with a B-side of other musicians curated by the artist."
The first solo release from Christopher Bear, drummer and multi-instrumentalist of the much loved ’Grizzly Bear’, pivoting to lushly electronic dream pop somewhere between Art of Noise, later period Prefab Sprout and Enigma - we ain't complaining.
"Often finding the structure and form of a more traditional ‘song’ and the concept of an album too restrictive, Christopher finally set aside a six week period in the summer of 2019 to explore the possibilities of jamming alone and seeing where it took him: recording each instrument himself and then responding through improvisation to his own recordings, Whilst doing most of the recording in a digital set up, he also set out to capture some of the same mental and sonic space from his time recording on 4-track.
The results of these Fools’ sessions, he explains, feel “almost more like a mixtape than an ‘album’ per se” to him. With a sense of the dichotomy between nostalgia and the future, ‘Fools’ Harp Vol. I’ seeks to transport the listener to a world both familiar and comforting, exploring something undiscovered while maintaining a deep sense of openness and curiosity."
Properly engrossing and cataclysmic widescreen recordings of brass and percussion booming around a bridge in Köln on this wonder from NYC composer/sound designer Lea Bertucci for London’s emergent experimental music platform, SA Recordings. It sounds like a panoramic blade-runneresque fantasy, one of the most satisfying experimental records we've heard in a long time - huge recommendation.
Using the 14 second reverb in the hollow of the Deutzer Bridge that spans 440m of the Rhine in industrial NE Germany, Bertucci’s two ‘Acoustic Shadows’ remarkably recall some kind of Vangelysian brass panorama and Alvin Lucier’s ‘Chambers’ in their stunning widescreen scope and proprioceptive playfulness. Anyone typically seduced by the atavistic appeal of echoic caves, canyons or palatial spaces - grand and industrial - will be in their element here, utterly immersed in unfathomable spatial dimensions that can’t help but induce an intended sense of wonder.
Through a system of physical, instrumental performance and animist intent, Bertucci plays out into the space, records the results on microphone, and works back over sections fed back into the space via an 8-channel speaker array, accumulating disorienting feedback loops that explore the resonant frequency of the space and voice the characteristics of its internal architecture.
With the first piece she throws us back into some ancient or medieval state of mind, with long brass tones swept around the concrete surfaces and building in textural richness along with the road noise above, variously recalling states of amniotic lushness, first-person-on-the-moon isolationism, and Blade Runner panoramas streaked with towering gas flares. ‘Percussion’ on the other hand is initially more tentatively pointillist, with ricocheting woodblock hits that calmly then frenetically feel out the space but never quite gauge all its angles, before thunderous waves of bass instil impending panic and we somehow emerge blinking and dazed at the end while a pack of Swiss cows stroll by.
Properly stunning, stunning record.
RIYL Swell Maps, Buzzcocks, Eddy Current Suppression Ring, Jay Reatard.
"Gen Pop started in Olympia, Washington in 2016. Four faces in the same mirror all with a different reflection. It’s not high-brow or low-brow but unibrow. Don’t bother making musical comparisons, speak instead in terms of the mood, which, for lack of a better term, may be described as ‘tense’.
After 2 EPs and a handful of tapes Gen Pop uses all paths to create a unified sound. On ‘PPM66’, their first full length, winding bass lines and vulnerable unaffected leads mark late 1970s power pop sensibilities with the purity of enthusiasm that has come to be Gen Pop’s calling card. ‘PPM66’ draws from all avenues of sound to create a paced out record that is looking for sonic utopia but sobers into an auditory hallucination. This record focuses on the person. Of course, in the time and space outlined by this recording we find the individual difficult to lock down. Defined by their paranoid tirades and meticulous hygiene, grocery lists and dishevelled minds, the characters we meet oscillate between the familiar and the bizarre, often in the span of a single song. With dreamlike insubstantiality, they constantly morph and gyrate, their innumerable facets twinkling in the stark light of the examiner’s scope."
Simo Cell’s newly minted TEM?T label starts up with the skewed rolige of fellow French producer E-Unity clad in ace artwork by Dr. Me
Relaying the sound of Paris-via-Bristol in four parts, E-Unity sets out the label’s agenda with a mix of tight percussion and sloping bass suspended somewhere between the styles of his label bossman, Equiknoxx and Batu with infectious highlights on the sidewinding chromatic bubbler ‘Inner Osc’, the natty stepper ‘Late Tate Tale’, and on a craftier slow swivel with ‘Not For Me’. Big twelve.
Incredible album of bleeding-heart catharsis from cellist Oliver Coates, think Arthur Russell doing drone metal with Fennesz, and you’re not far off Coates’ capacity for tear-jerking genius here.
Acclaimed cellist, Oliver Coates’ tactile skills are in gloaming, distressed effect for his stunning 2nd side with RVNG INTL., showing why he’s sought-out for recording with everyone from Laurel Halo and Malibu to Mica Levi and Jonny Greenwood in recent times. Following the more frivolous urges of 2018’s ’Shelley’s On Zenn-la’, Coates keeps in step with the mood of 2020 with a definitive solo album that truly speaks to his credentials, but with an almost lyrically folkwise style of storytelling wrapped up in heathered and thistly textures and windswept dynamics
Working an exquisite tension between live playing, sampling and tempestuous storms of FX, Coates embraces his darker and more vulnerable side like his life depends on it, and maybe yours, too. The first half’s ‘Caregiver’ suite starts out broodingly ambiguous and sweeps from raging noise distortion to bittersweet keen and rawest, wasted harmonics, and the 2nd side sees us off with cinematic beauties like ‘Butoh’, the crushing riffs of ‘Reunification 2018’, and its tender kiss-off starring Malibu. Fans of high grade emotional punishment need to dive in with both feet.
At the heart of Christian Stadsgaard's solo project Vanity Productions is an emotive charge that's tempered by an austere and self-disciplined approach to composition.
"Entitled 'But All Spiked,' the album presents a suite of five pieces that veer surely yet subtly through a complimentary range of acousmatic environments. Of his recent works its perhaps 'Only The Stars Come Out At Night' that most resembles a preliminary route in to the arena of his new album. Sometimes overtly, though often with a cryptic veneer, he modulates a central refrain across each piece that comes to engulf the stereo field with different intentions. Citing the influence of American minimalist composers, Stadsgaard has refigured some of the compositional practices towards his particular context and oeuvre.
A medley of strings and electronics waver in and out of place on the opening piece, 'White Ribbons On The Ceiling,' introducing the careful preparation and treatment of sound as a means of articulating a profound though compassionate melancholy. The album is drenched in sorrow and seeks its expression with great economy. And it's around this detail that there's perhaps some slight indication of the album's turbulent personal context and the major life changes that underpin it.
Stadsgaard's restraint proposes a wealth of wistful invocations. This control, once combined with the subdued presence of his penchant for glaring noise, is what organises 'But All Spiked' into the meditative and dynamic work that it is."
‘Sign’ is Autechre’s first new album-album proper since ‘Elseq’ and contains some of their most emosh compositions in eons, perhaps since ‘Tri Repetae’.
Practically pocket-sized in comparison to their sprawling torrent of live material and radio recordings in recent years, ’Sign’ is a return to the sort of concision found circa ‘Exai’ and their earlier albums. Effectively they’ve gotten better to grips with their live set-up, and the hyper ideas found in their work-in-progress demonstrations on the five volume ‘Elseq’ and 8hrs of ‘NTS Sessions’ have been refined into moments of crystalline ambient baroque beauty and liquid-limbed swag on ’Sign’.
After their music has undergone what could be called a growth spurt in recent years, the acrid plasma of their complex, hyper-inorganic systems feels to congeal, create more intricate snaps across the album, from the lush cosmic collisions of ‘M4 Lema’, to the rhizomic arp weaving on ‘F7’, while refining their tendons and muscle in the gyrostep of ‘au14’ and ‘such.mefd2’. The anthropomorphisation of their synthesis accelerates with the album’s 2nd half with the elegiac catharsis of ‘Metaz form8’ displaying a greater emotional intelligence, while their shapeshifting synthesis grows semblances of glowing hair and teeth and skin in ’th red a’, and even a plaintive human heartache in the systolic thud and bloo pads of ‘psin AM’ that rawly bleeds out in the album’s future classic closer ‘r cazt’.
This LP was hinted at by Autechre as one of two albums ready for 2020, so we’ll take it this is their “U Ok Hun?” one to some possibly more hardcore turns in the future. Have it.
Collector’s edition box set including three LPs and a 7” EP with booklet, specially curated collection of songs from the zenith of Gainsbourg’s career - 1958 - 62 - released on vinyl with original artwork.
"Serge Gainsbourg wrote and composed not like a writer or a musician but like a painter. He used words, notes and instruments as one would use colours, brushes and paintbrushes. Dark or bright, tender, cynical, exalted, pastels, lively, warm or cold, pacified or violent, his poetic images impose themselves on us as if they had been painted."
Losing someone close to you creates an almost phantom limb-like effect. Often, it feels like they’re a phone call away.
"But that instant between when you reach for the phone and when your brain delivers the new reality to you is a strange, momentary eternity. It’s both an uncompromising void and maybe as close as you’ll ever come to communing with that loved one again. On her new song “Sandwiches,” Gordi harnesses all the sadness and glory of this feeling into a soaring, post-new wave anthem. One of the first true Gordi “guitar songs,” it shimmers with the lush-yet-fragile momentum of The Cranberries’ classic “Dreams.”
Gordi wrote “Sandwiches” as a tribute to the matriarch of her family. Her late grandmother was, in Gordi’s words, “a great feeder of people.” So when she fell ill, Gordi and her mother took it upon themselves to nourish the visitors gathered around her hospital bed. As they passed around sandwiches, “someone called out that she was gone.”
The gravity of the moment was poignant for its softness and mundanity. Gordi approaches the totality of a loved one’s life as measured in the small memories that stay with us. She sings, “When I think of you a movie-reel of moments plays / We’ll be in the car or after mass on Saturdays / You’ll be walking down the driveway, you’ll be in your chair / You’ll say ‘See you round’ or ‘Say your “Three”’ / And now you’re everywhere.”
Gordi called on long-time collaborators and Bon Iver production duo Chris Messina and Zach Hanson to make “Sandwiches” at her family home in Canowindra, Australia — an old cottage littered with some of Sophie’s favorite pieces of musical arsenal combined with some flown in from Eau Claire, Wisconsin. The tiny farm town where her family has lived for over a century, Canowindra, and the heart of the matriarch, is embedded in this song. “Her whole life was in Canowindra…we made it in a house that’s a hundred meters from her house.”"
Highly atmospheric industrial drones and haunting, cinematic treatments on this amazing, previously unreleased score from L.I.E.S.?/ Gravats mainstay Krikor Kouchian for Jean Epstein’s silent 1920’s French avant garde classic, a big tip if yr into Eliane Radigue, Ø, Kevin Drumm, Elodie.
Krikor summons spooked-out and glacial sounds in this superb, as-yet-unreleased soundtrack for the 2014 redux of Jean Epstein’s pioneering, silent 1920’s avant-garde cinema classic. The 1927 film ’Six Et Demi Onze’ tells the tragic romantic tale of two brothers who, unbeknownst to eachother, fall in love with the same woman. A timeless psychological narrative involving suicide and lies ensues across the film’s grand locations, but on his soundtrack Krikor prefers to home in on the internal thoughts of the film’s central protagonists, outlining a claustrophobic atmosphere in some of his most subtle and affective soundtrack work, which follows from a panoply of scores for everything from an Arnold Schwarzenegger documentary, to films on Franco-Saudi geopolitics and fantasy sci-fi. It’s arguably Krikor’s finest endeavour in this arena.
Recording for the score was made on portable recorders and laptop, which serve to heighten and intensify a “huis-clos” (“behind closed doors”) effect. Limned in sferic and plasmic tones, the 12 pieces suggest scenes and sensations of intrigue, loss, and paranoia. The results were pre-planned and mapped to the film’s edits, but ultimately Krikor improvised the parts, adopting a more classical, non-linear approach with cranky old upright piano for the other scenes, capturing a mix of subliminal instinct and more measured articulation.
The results weigh up as Krikor’s most elusive and haunting solo missive, mirroring a wealth of classic French film music and avant-garde minimalism, and serving to slot neatly on Boomkat Editions’ vinyl series beside soundtrack (and related) works by HTRK, Ø, and Akira Rabelais.
Compassion is a cycle of music born of the need for healing. It’s a great moment in life to realize when healing is required. No matter how broken in body and spirit, to be able to recognize what is needed — that something is needed at all — is the beginning of relief.
"Jim Becker has been playing music for several decades, in Chicago and around the world, with lengthy tenures in Califone and Iron & Wine and many additional production and playing credits to his name. Lama Lobsang Palden is a gifted energy healer, teaching Yantra Yoga and Buddhist meditation. As a young boy, he was recognized as a tulku — a reincarnation of a Nyingma guru yoga master. Following the path, he studied all aspects of Buddhist philosophy in Tibet and India and has taught meditation, yoga and the Buddhist Dharma all over the world.
The relationship that allowed Lama and Jim to make this record started with treatment, three years before the record was begun. Jim went to the Lama for healing, to address the many aches and ills that medicine couldn’t seem to heal. As Jim was leaving his first session, the Lama said to him, “You and me, we make a record.” It would be years and many other life events before a record could be undertaken, much less completed. It was a long road ahead to becoming whole, but that was the beginning.
Jim found the therapy sessions both personally restorative and stimulating. As a musician, Lama’s use of chants, bells, gongs and percussion in his practice resonated within him. A listener to all kinds of music, Jim understood that the recording would have to represent more than a straightforward capture of performance. Among other possibilities he heard in response to Lama’s music, he was inspired by the soundtracks in Satyajit Rayfilms, where the realities of life shown on the screen are accompanied by a climatic dreamscape of sound representing inneremotional and spiritual depths. This perspective gives the music of Compassion a wide space in which to place the listener, with Lama’s music at its center.
In 2013, they began at Lama’s house, recording on a Tascam Portastudio. Sessions stretched out over a year. Intent on an organic, acoustic sound-bed, Jim chose his instruments carefully, tuning to the drum skin or pitch of a gong. Then they’d play music! Lama’s performances and Jim’s accompaniment, filling first the channels of a 4-track cassette tape, then tape after tape with more music. As their horizons expanded, they included some sounds from the world outside — rain falling, waves breaking — with an eye toward the greater encompassing reality of the finished set. Finally, when they’d compiled nearly 450 minutes of performances, the music was bounced from 4-track to ProTools at Jim’s home studio, and he began the process of culling complimentary pieces to flow as one. Lama was receptive to Jim’s inspiration, making himself available to any idea. In this fashion, further overdubs and edits brought the arrangements of the songs and the album into shape. In addition to the many roles and instruments that the Lama and Jim played, music was played by Rob Frye, Teddy Rankin-Parker, Rob Mazurek, Becca Wilcox, Becca Ridge, Marion Jackson, Yngrid Diaz, with Quinn Tsan, Becky Levi and Clara Palden adding additional voices.
The 43 minutes that comprise Compassion are a deeply felt and wide-ranging musical synesthesia, a telescoped recapitulation of all the time over which they were conceived — for Jim, this was a recapitulation of years of experiences, some happy, some difficult; many moods and places, alone and in the company of different people and thoughts passing through. For Lama Lobsang Palden, this was a chance to teach about the relaxation of the mind, the Tibetan mantra, and most importantly, to allow people to know his heart through his chants and music. A transcendent collaborative encounter, Compassion is an epic piece of music about the epic search for the same."
20th anniversary edition of Stephan Mathieu’s stunning debut album, a hushed introduction to his liminal sensitivities - essential listening if you're into Jan Jelinek, The Caretaker, Akira Rabelais or David Sylvian. A proper pearl, this one.
Highlighted for reissue by the brilliantly named Weeding label, the timeless, hypnagogic qualities of this classic album stem from Mathieu’s core interest in vintage, outmoded equipment and their unique fidelities. Sampling 78s and environmental sounds and combing the results with granular processing (and a spectrum of other synth tekkers), he animates their ghosts and spectral infidelities - ravishing crackles, infrasonic hums - in elegantly slow moving, chamber-like arrangements that have become a hallmark of his and subsequently coveted by waves of wistful artists enamoured with his contemporary vision of archaic, arcane audition.
Mathieu’s music finds a unique sensuality in the space between analog and digital textures, most beautifully highlighted here on the anxiety-dissolving crackle and hum of ‘Variation Eins’, and the exquisite touch of ‘Variation Drei’ as it gradiates from Porter Ricks-like subaquatic intensity to Basinski-esque damaged keys. The synths proceed accompanied by filigree spectral electronics a la Coil’s ELpH in the titular closer, a mix of paranoid drone surveillance and funereal pads eliding in thee uncanniest manner that feels very much at home deep into 2020, within a modern field of de/focussed ambient explorers and electro-acoustic composers from Pendant to Bellows and, of course, the Caretaker.
The grand organ wizard returns to Matière Mémoire with a slow, steady build to skyscraping drone dimensions for their 2020 series of 20’ works by masters in the modern field of drone and electro-acoustic composition
In one long, keening breath of a piece, Palestine scales from wide, low-lying drones to a swelling confluence of keening overtones that transition into ghostly voices in a manner that could really only come from this remarkably singular, 75 year old artist. Best of all, you could hardly tell if this was written in the ‘70s or 2020, such is the timeless, transcendent, elemental pull of Charlemagne Palestine’s music.
Autechre's classic debut album from 1993, reissued for the first time in 15 years...
Go on, blink; for the first time in fifteen years Autechre’s peerless debut album, Incunabula is reissued as a facsimile copy of the original, 1993 release, replete with silver-printed gatefold jacket.
We’re not going to bang on about this too much, but you should know by now that Incunabula is one of the cornerstones of modern electronic music, one of the pinnacles of the British rave epoch and among the most life-affirming records ever, bar none.
Aye, it’s 100% essential.
Another pearl from Jim O’Rourke, joining archivist imprint Matière Mémoire with an extended session of time-slipping synthesis that recalls Harry Bertoia's Sonambient drones or Autechre’s generative organisms winding down to a creeping pulse.
Like a relative micro-dose to the macro of O’Rourke’s recent solo missions and Steamroom sessions, he still covers vast ground in his parallel imaginary universe across the arcing transition of ‘In All Due Difference’, which joins works by a stellar roll call in a series that has already included work by Phil Niblock, Charlemagne Palestine and John Duncan with a mind-bending definition of experimental music in 2020.
Like some time-travelling bard from a cybernetic future, O’Rourke yields a spellbinding tale keening from viscous polychromatic swamps to reverberating dronescapes and rapturous astral organ chaos in a language of sensations that can only be decoded by instinct and feeling, not too dissimilar to the most affecting and quietly emotional work by Roland Kayn.
Dreamy doo-wop and swaying R&B from Jamaica, scanning the roots of what would become ska and rocksteady with early appearances from Jimmy Cliff, Derrick Harriott, and Alton Ellis
“A collection of Jamaican doo wop & R&B records taken from the late 50s and early 60s. These records represent a period in which soundsystems were just starting to dominate the island, with Duke Reid and Sir Coxsone stepping up their rivalry by beginning to make and release their own records rather than rely on US imports for use in their dances. Many of these records are definitely more-or-less imitations of the American records, as the uniquely Jamaican ska sound was yet to take hold - however many of the future stars of ska, rocksteady and reggae were beginning to cut their teeth in the industry on these records, incl. Jimmy Cliff, Derrick Harriott, Alton Ellis and more, and they provide a unique view into the fledgling independent record industry culture in Jamaica that would prove to be unbelievably prolific and unparalleled for an island of it's size.”
Butterz celebrate a decade in the game with Newham Generals, Footsie & D Double E.
"Two unreleased dubs the infamous 'Frontline' and a lesser known banger 'Humpty Dumpty'. War Wid and Prangman are two early Grime classics that have been out of press for at least 15 years.They've all been remastered by Joker so are sounding better than ever. It's a crazy year, but all we are going to is bring things back to basics and release 12" after 12" until we can rave safely again."
Shanghai’s Hyph11e commits a debut album of brooding sound design and gnashing breaks to her home city’s Svbkvlt stronghold, following hardcore ballistics for Hakuna Kulala and a lead single prepped with a killer Kode9 refix.
Dragging UK ‘nuum dynamics into Shanghai’s impending, fast-fwd present, Tess Sun aka Hyph11e has carved out a fierce reputation with her shots found on the praised ‘Cache 01’ compilation and in DJ mixes by key players including M.E.S.H., Aïsha Devi, and Kode 9 & Burial over the past four years. On ‘Aperture’ she plays around the theme of holes, rupturing her own path thru rave spacetime with deft, barrelling breakbeats wrapped up in fluidly contoured synth schematics that probe mutant corners of the dance, somewhere between industrial breakcore tekno and junglist footwork, with bleak but sensually personalised soundcraft done in a mechanised outernational dancehall style shades away from her label mate 33EMYBW and Uganda’s Slikback.
Hyph11e sparingly lights up her music like scenes from a rave in strobing start/stop motion and with a knowing grasp of negative ecstasy - finding pleasure in the aesthetic and noumenal spaces between styles, time and space. She characterises this notion in the album’s brutalist bookends, ‘Encrust’ and the chemically overripe lushness of ‘Erosion’, while traces of electro-acoustic strings infiltrate the prowling stepper ‘Accretion’, and more traditional Chinese tonalities describe rangier Jungle Tekno landscapes in ‘Baily’s Beads’, and she summons wraithlike spirits from the fizzing industrial dancehall fissures of lead single ‘Barnacles’. At her most dextrous, proper UK hardcore is rinsed into labyrinthine warehouse variations on ‘Doppelgänger’ and ‘Get Out From Under’.
Anyone who suffers trypophobia may want to proceed with caution, but hardcore ravers of all stripes and futuristic leanings will sink deep into the ravishing style and puckered darkside discipline of this sharp, incredible album.
12inch release of highly sought after Colored Music edits by Tokyo's Chee Shimizu (Organic Music).
"The two cuts originally featured on the band's seminal self titled album from 1981 and 'Heart Beat' remained a cult DJ secret weapon, for many years all over the world. This heavy EP includes an alternative version of 'Heart Beat' that featured on the Japan only "Individual Beauty" LP of 2018 (also compiled by Shimizu)."
The perfect introduction to Beverly Glenn-Copeland's charming and idiosyncratic sonic universe: a career-spanning collection that includes his first new song in 16 years.
When he began releasing music in the early 1970s, Beverly Glenn-Copeland struggled to find an audience for his earnest, emotionally rich folk pop. A career in television as a regular actor on Canadian children's TV show Mr. Dressup gave Glenn-Copeland a paycheck but didn't shine too bright a light on his musical abilities. In 1986, he put together a record using a Yamaha DX7 synth and Roland TR-707 drum machine called "Keyboard Fantasies". At the time it was a short-run cassette-only release, reaching only a limited audience, but online diggers eventually discovered the album and began to investigate Glenn-Copeland's career further.
"Transmissions" compiles songs from "Keyboard Fantasies" and Glenn-Copeland's debut "Beverly Copeland", bundling them with tracks from the lesser-known "At Last!" EP and 2004's "Primal Prayer". There are two recent live recordings too, as the surge of interest in his work allowed him to perform these songs internationally for the first time. Most interesting though is the inclusion of a brand new track (Glenn-Copeland's first in 16 years) 'River Dreams', a devotional-sounding haze of woozy new-age pop that continues the themes of "Keyboard Fantasies" while transporting them into a new era.
Anyone who needs a primer into Glenn-Copeland's unique musical world couldn't find a much better collection than this. The remaster sounds incredible and the choice of tracks highlights Glenn-Copeland's versatility and originality without sacrificing any charm. There's been a glut of crate-digger adjacent reissue material recently, we know, and it's not always worthy of the hype - this one most definately is
In anticipation of the year 2020, Matière Mémoire asked 20 experimental/electronic artists to create an original 20 minutes piece and an artwork. Throughout this year, each quarter will see the release of 5 new releases in the series.
"Each record is limited to 500 copies and comes as a crystal clear vinyl featuring an original track of 20 minutes on one side, and a laser engraved artwork on the other. Each 12" is housed in a transparent sleeve printed with the MMXX logo, coming with a print of the artist artwork."
“Sometimes It's Raining a Lot”, recorded with a Yamaha PSR-36 synthesizer, editing and manipulation, is a 20 minute Radiophonic piece comissioned for Matière Mémoire's second batch of releases.
"There is a noteworthy context for this release by Santos Silva at Matiére Memoire: the Belgian publisher explains that in anticipation of the year 2020 he asked 20 “great artists” to create an original 20-minute piece and their artwork; in this way, Susana Santos Silva is part of an extraordinary batch of creators, including figures such as Phil Niblock, Jim O’Rourke, Stephen O’Malley, Oren Ambarchi or, to name just a few more examples, Charlemagne Palestine and Kevin Drumm. Another sign of a wide international recognition that the Portuguese artist affirms as a unique figure in the global panorama of the most advanced contemporary music.
It could be said that the signs of jazz or improvised music in “Sometimes It’s Raining a Lot” are faint. On the one hand, this seems to be a piece in which many of the basic characteristics of jazz are dispensed with, since it does not deal with issues of rhythmic time (or time implosion), and although certainly a generous dose of improvisation may have been at the origin of some of the sound mass treated here, namely in the trumpet drone or in the ethereal piano tricks, the truth is that, placed side by side with the field recordings, and after being highly processed, these elements end up, and borrowing the name of the label that gives this work to the print as early as next August, to be a matter of inseparable memory from that which results from field recordings: the voice captured in a station's PA, truncated conversations, the noise of the train's metallic wheels on the rails… Incidentally, it is impossible not to link this piece to the historic Etudes aux Chemin de Fer, one of the foundational works of concrete music, created by Pierre Schaeffer dated 1948. The founder of the Groupe de Recherches Musicales believed that music was an organization of concrete sound material and that is precisely the idea that presides over this creation by Susana Santos Silva that here combines sounds captured from real instruments - trumpet, piano, synthesizer - with signal processing, recordings field and editing and editing (keyword in this context) which in the end results in a highly abstract work, but still vivid and capable of printing sensations and even images in our thinking.
Written, according to the available technical notes, at the end of 2019 between Porto and Stockholm, “Sometimes It's Raining a Lot” allows, in fact, to imagine a physical movement through any urban space, but always with a diffuse connection to reality, not understanding whether the piece illustrates a specific trip or just a memory of a trip, distant, mutilated by time, of which only scattered fragments remain. Or none of that, as is even more likely.
The physical edition of Life is a Mystery will be limited to 500 copies, on transparent vinyl with the original track on one side, and laser engraved artwork on the other. Everything is packed in a transparent cover that also includes a print of the artwork created by the artist." Rimas e Batidas
Outstandingly creepy collab from industrial mutant Geins’t Naït and ambient pioneer Scanner, pushing each other into darkly surreal crawl spaces for Vladimir Ivkovic’s Offen Music
Bringing respective decades upon decades of experience to their first collaboration, the two operators spell out a brand of sorcery that taps right into shaman Vladimir’s most personal taste for slow, burning psychedelia, although it’s perhaps more inclined to the after-after-party than his heaving peak time sets. Along with Low Jack’s Editions Gravats, Offen Music were responsible for introducing French industrialist Geins’t Naït to many ears - ours included - only a few years ago, opening up a loopy world-unto-itself for any weirdos who were paying attention, and who should also be locked onto this one.
In collaboration with Scanner, aka prolific ambient/electro-acoustic/concrète explorer Robin Rimbaud, Geins’t Naït’s loop-based pressure becomes more spaced out and druggily affective over the EP’s six tracks; helming to a heavily depressed pulse that hovers around the 50bpm mark (at a guess) for a truly stygian trip wrapped in lemniscate ambient envelope folds and strewn with eerie voices from the ether. No doubt, it’s a must check for fans of Coil at their most slithering, or the possessed atmospheres of Rainforest Spiritual Enslavement.
Pere Ubu’s music is a disorienting mix of midwestern groove rock, “found” sound, analog synthesizers, falling-apart song structures and careening vocals. It is a mix that has mesmerized critics, musicians, and fans for decades.
"‘The Tenement Year’ is the sixth studio album by American rock band Pere Ubu, their first album after reuniting following their 1982 break-up. The album chronicles another crucial era for the band, an escapade that retooled our understanding of what pop music is and moves away from the abstract sounds of their earlier releases.
Here the band consisted of core members David Thomas, on vocals, trombone and melodeon; Allen Ravenstine on EML synthesisers and sax; Tony Maimone on bass and Scott Krauss on drums. They were joined by Jim Jones on guitar and Henry Cow drummer Chris 'Cutlery' Cutler on second drum kit."