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Friday, November 03, 2017

Burial - Pre Dawn / Indoors (Nonplus Records)

Burial - Pre Dawn / Indoors (Nonplus Records) This is Burial as warehouse shadow dancer, properly committed to the heavy hours of the rave. Pre Dawn rolls out at 140bpm with something like Tango & Ratty’s “lost” garage project, as heard under a corrugated roof beaten by acid rain. The first breakdown could have feasibly appeared on some Untrue cut, while the final passage of soul-smacking pads and distant gabber kicks delivers the classic Bevan shiver. Indoors is perhaps meant to be what’s behind those booming kicks, on the other side of the door. Initially, furtively elegiac, it comes off as the more hardcore of the two thanks to a nagging vocal and marching, technoid rhythm, so vividly evocative of a steaming, classic rave in full rush that it’s no wonder Burial doesn’t bother with promo videos. Huge !!! in boomkat

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Friday, October 13, 2017

ROSS 154 - Hybrids EP (Applied Rhythmic Technology)

ROSS 154 -  Hybrids EP (Applied Rhythmic Technology) Emerging in the golden wake of Jochem Peteri aka Ross 154’s Strike reissue, legendary Dutch techno label Eevo Lute Musique present a reissue of the project’s stellar debut EP, Fragments [1993], newly remastered and retitled as the Hybrids EP for K. Degiorgio’s A.R.T. Crafted with the same live hardware process which he’s stuck to ever since, the EP oscillates between four lush ambient Hybrids vignettes and an equal number of perfectly dark, rugged techno-house and breakbeat mutations. The title tune is a killer twist on Suburban Knight-style 313 ruggedness, all churning toms and night-vision synths, whilst Remembrance slays with syncopated breaks and DX7 torque in a sport of parallel to UK hardcore and Autechrian AI, whereas Mayflower works between deep NYC house and some of the finest, kinkiest drums indebted to Derrick May.

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Sunday, October 08, 2017

TAFI ALL STARS - Outside Rhythm (Autonomous Africa)

TAFI ALL STARS - Outside Rhythm (Autonomous Africa) Too often these cross-continental projects can sound like spiced up tech-house, but not this time, as they find a fine, loose balance of vibes hingeing on the international language of dub, turning up heady vibes in
the sloshing rhythms and echoic space of Gormedzedze, strutting punk-funk-disco with gorgeous vox on Deka Wor Wor, and a superb mesh of live drums and minimal electronics in Cantata.Turn to the B-side and the EP really comes into its own with more psychedelic expressions in Outside Rhythm and the Sordid Sound System dub of Cantata, as dusk passes in richly evocative fashion with the star-gazing electronics and Regina Egbeako’s fragile lullaby are carried off into dreamscape on Agbe Me Nya Wo. In Boomkat Listen/Samples

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WALTER GIBBONS - Jungle Music (Strut)

WALTER GIBBONS - Jungle Music (Strut) Walter Gibbons was a crucially important figure in the history of dance music, one who has become particularly renowned for his pioneering of the remix as an art form. In addition to taking up residency behind the turntables at New York's Galaxy 21, Gibbons was among the first artists to make his own reel-to-reel edits of tracks, extracting the maximum dancefloor potential from the source material. He's also gone down in history as the first DJ to be given access to multitrack tapes, and his resultant remix of Double Exposure's 'Ten Percent' in 1976 might be regarded as the point of genesis for the remix as we know it today. The tag 'Jungle Music' was given to Gibbons' work due to the DJ's tendency to extend tracks to the ten minute mark with prolonged percussion sequences and tribal breaks. Across this double disc collection, the good folks at Strut have set about compiling Gibbons' key works through the 1970s and 1980s, taking in material from Gladys Knight and Bettye Lavette, but also the next generation's house, electro and post-punk, with works by Arthur Russell, Dinosaur L and Strafe among others. in Boomkat

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Saturday, October 07, 2017

GROUP RHODA - Wilderless (Dark Entries Records)

GROUP RHODA - Wilderless (Dark Entries Records) Pairing poetically abstract, observational lyrics with exquisitely adroit drum programming and lissom synth contours dripping with hooks, Wilderness forms a subtle refinement of what we remember from Mara Barenbaum aka Group Rhoda’s earlier releases. And just like Heinrich Mueller, Group Rhoda effortlessly remains true to original ‘80s machine styles while patently refreshing their templates with timeless effect. One can hear it in the supple, acidic bent and deliquescent starburst dynamics of Trespass, in the almost digi-dub budge of The Ice House, and like Suicide in Detroit on June, while Mexi Meri is like a perfectly measured mix of Gina X Performance and Arpanet, and sea or Be Sea hints at a certain Patrick Cowley-esque subaquatic electro sensuality.Impeccable stuff! In Boomkat. Listen/Samples

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Thursday, October 05, 2017

ERRORSMITH - Superlative Fatigue (PAN)

ERRORSMITH- Superlative Fatigue (PAN) At long fucking last Errorsmith ( Erik Weigand) relinquishes his long awaited new LP for the good of the dance, twysting Black Atlantic rhythm patterns with computer music in a way that pushes all of our buttons at once. To be clear; Superlative Fatigue is a proper party record. Entirely written using Weigand’s self-developed Razor software (as wickedly deployed by Mark Fell on the Manitutshu album), it inventively gives voice to the impish computer spirits that have been dancing around his head all those years since his last solo output; For anyone into anything from Nídia, Equiknoxx, M.E.S.H., Marfox or Nigga Fox, this remarkable record is a real no brainer - one of the deadliest, freshest club records we've heard for years.In boomkat. Listen here

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Saturday, September 09, 2017

Balenciaga New Colorways of the Triple S Sneaker

Wednesday, August 30, 2017

Hype Williams - Rainbow Edition (Big Dada)

Hype Williams - Rainbow Edition (Big Dada) Hype Williams get a pretty headstone with the Rainbow Edition, hustling ’20 joints strictly for the whip …& ppl 2 fat for fedoras’. Trust it’s a suitably smoked out final missive from the duo behind some of the most beguiling records, downloads and mixtapes of the last decade. According to the duo, Hype Williams officially gave up the ghost in 2011 with their One Nation LP for the sadly defunct Hippos In Tanks (R.I.P. Barron Machat), with any subsequent live shows as HW done to fulfil contractual obligations. The pair went their own ways with solo projects from 2012 onwards, again resulting some of this decade’s most celebrated releases in the likes of Babyfather’s BBF Hosted By DJ Escrow and Lolina’s Live In Paris. Now seemingly scraped from some lonely iTunes folder and reduced to the lowest bitrates, the 20 tracks of Rainbow Edition hold tight to the hard-bitten, tarmac level, shit camera-phone grain and fidelity which has framed their work since the self-issued High Beams download and their Han Dynasty I 7” for De Stijl back in 2009, all effectively, metaphorically finding virtue in the tension between soulful resilience and worn down daily grind in a way that hyper glossy, bloated studio productions can never grasp. Whether the rough diamonds of Rainbow Edition form an archival release, a false restart, or even the work of others, is a moot point. What is easy to grasp, though, is the fact it physically exists, and features some real nuggs inside such as the airborne drill blowouts, Ask Yee and Cocksucker Blues or the very John T. Gast-like 6 minute meditation, Spinderella’s Dream. So for (possibly) one last time, HW’s simulacra presents a severely compressed and bittersweet perspective on waking life that’s as sur/real as it gets right now.In boomkat  

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Wednesday, August 09, 2017

CROWW - Prosthetics (The Death Of Rave)

CROWW - Prosthetics (The Death Of Rave) The long-awaited debut release by yung new producer Croww for The Death of Rave, somewhere between a mixtape, imagined soundtrack and demonstrative showreel pieced together from a Slipknot sample pack used by the band’s Craig Jones on their landmark debut album and highly recommended if you're into Autechre, Rabit or Total Freedom. The severely gurned and kerned result is the Prosthetics (MechaMix) unique to the vinyl edition, and four constituent Prosthetics, featuring the original samples painstakingly dissected and assembled in uchronic form to suppose an alternate history of the last 20 years of pop and subcultural phenomena, one where rap metal is dissolved and alloyed with the extremities of grindcore, flashcore, late ‘90s D&B and hypermodern rap instrumentals. Safe to say it sounds like naught out there right now. Gestated from the seeds of a conversation after 2015’s Moss Side carnival, Prosthetics has grown into a sort of hybrid golem via intensely scrupulous sessions spent panning the original sample pack for flecks of precious, vantablack metals. In the process it became as much a study in coming to terms with formative influences as an exercise in sui-generis sculpturing, effectively forming a noumenal sidestep around the sub-cultural phenomena of Slipknot’s (like it or not) landmark debut record - an album which, at the time, sent shockwaves thru teenaged suburban bedrooms and the kind of clubs you could then get into with a fake ID. With the benefit of hindsight, Croww has acknowledged and figuratively taken those early influences on a vector that few would have imagined back then. From the record’s early warning of “...they’re doing something rather curious with the parts of the body, in a way we don’t fully understand…” the piece buckles and convulses in a reticulated of wretches and spasmodic yet disciplined blast beats as much associated with Columbian paso doble as the pitching meter of La Peste’s seminal flashcore tracks or grindcore proper. Samples from Iowan public access TV are mutilated in the strangely brittle yet mercurial mix, whose Black Metal-debted pallor is unpredictably lit up with flashes of shellshocking psychoacoustic treatments in a complex, sci-fi style dramaturgy punctuated by abyssal lacunæ and intensely detailed cues. To be honest, The Death of Rave was never into Slipknot at the time, yet it was hard to ignore their ubiquitous presence if you were at all inclined to look beyond prescribed chart chaff. But, as the business end of late ‘90s house and trance has become a de facto club soundtrack in 2017, Slipknot’s awkward outsider legacy deserves some polish and attention. Croww has turned Slipknot’s cultural cadaver into a polysemous mutant that works as a brutalist DJ tool, or indeed as an introductory mixtape/imagined soundtrack boldly expressing the artist’s individuality, which feels deadly important in an age swamped by mimetic clones blindly chasing empirical populism on one hand, or all too happy to wallow in staid ideas of nostalgia on the other. It's a beguiling reminder that there’s always a third hand, a third track or third path. in boomkat Listen Here (Samples)

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Friday, July 14, 2017

Shackleton - Behind the Glass (with Anika) (Woe To The Septic Heart)

Shackleton -  Behind the Glass (with Anika) (Woe To The Septic Heart) Shackleton curves back to Woe To The Septic Heart! with British-German singer-songwriter Anika as his new vocal muse, who lends a refreshing new spirit to his sound following collaborations with Ernesto Tomasini and Vengeance Tenfold in recent years. Perhaps knowingly timed for release with UK summertime, Behind The Glass is a decidedly mid-summery album full of semi-pastoral psychedelic themes and production in Shackleton’s signature style, equal parts Wickerman soundtrack and Jarman-esque uncanniness with a dash of worcester sauce sourness dosed direct to the pineal gland. Think ritual dogging sites, lost Spiral Tribe members attempting to find their way out of a nuclear bunker for 20 years, or pagan aliens descending at full moon over Welsh glades. The production, as ever, is incredible. in Boomkat [Listen  Samples Here]

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V/VM - Brabant Schrobbeler (Boomkat Editions)

V/VM Brabant Schrobbeler (Boomkat Editions) The Brabant Shrobbelèr is a searing selection of classic and unreleased New Beat productions by James Leyland Kirby aka The Caretaker, aka V/Vm. It was selected and sequenced by Jerk van den Boschalottt and mixed and chopped to mucky perfection by Miles ov Demdike Stare, marking up a personally important 5th instalment in our 12 x 12 series, while also providing a fitting headstone to one of Kirby’s most crucial and little known projects. New Beat has long become the black sheep of Manchester’s dance music canon, wilfully unacknowledged by successive generations of DJs who continue to suckle at the entrails of the Haçienda, when in fact New Beat was a crucial part of the Manc Dance make-up, most often mixed up with Chicago, Detroit and New York house, and whatever UK bleeps and boops were bubbling thru at that time. Thanks to the influence and legendary DJ sets of V/Vm card holder, Acid Alan - whose New Beat collection spilled over the racks at a now defunct NQ record shop - its memory and place in Manchester’s rave folklore has been preserved by only a select few souls who really.cannot.be.fxcking.chuffed. with the constantly regurgitated putative history of our city’s club and warehouse culture. Now, 30 years since New Beat was syncretised and sonified by the weekending loons of Flanders from the the best/worst bits of synth-pop, EBM, house and electro - arguably giving birth to the rave techno paradigm we know and love in the process - V/Vm’s dark, sexy, and unforgiving dedications take on a new afterlife, resculpted into the oft-maligned but temporally appropriate format of a MegaMix, as was found on dozens of original New Beat and Acid House compilations and 12”s. Driving from Be-Dash’s over-the-limit jackoff, Must Do to the curdled acid gargle of Euro Hit via pure smuts in I Wanna Fxck Miss Nicky Trax, also taking in ‘Animal’ Andy McGregor’s Fxck My Pussy and Hear Me Coming, and previously unknown gold such as Russell Grant and Bajs Grotta, this is the sort of record that deserves its own plinth in the Arndale, preferably somewhere in front of the sweaty gammons and chicken elbows at Gabbott’s farm shop. Free download of Mike Pickmynose and John Rubb spoojing lyrical about when they used to tonk New Beat all night in ’88 is not included. File between your legs. In Boomkat

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Tuesday, May 16, 2017

Mundo Urbano #20 (12/05/2017) for Radio Quantica

Part I - German Army (mixed and selected for Mundo Urbano In April 2014)
Part II - Ekoplekz (mixed and selected for Mundo Urbano In November 2011)
Ekoplekz Tracklist: 
01. Geoffrey Burgon - The Hymn of the Plants
02. Pelican Daughters - Insect Wing
03. Conrad Schnitzler - Jupiter
04. Coam Transmissions - Sugarmorphosis
05. Hacker Farm - Goar Knap
06. Ursula Bogner - Nach Europa
07. Jerry Goldsmith - Love Shop
08. Alien Radio - Text Adventures
09. F.C. Judd - TBC
10. Hieroglyphic Being - Rhythmes Circadiens
11. Some Truths - #15
12. Red Stars over Tokyo - Lost Traces
13. Ekoplekz - Loop Segue (Improvisation)
14. Lee Perry - Ox Man Dubwise
15. Tristram Cary - Forest Atmosphere
16. King Tubby - A First Class Dub
17. Ekoclef - Sonic Salvation
18. Chairman Kato - Usual Drama (Ekoplekz Replekz)
19. Ekoplekz - Loop Coda

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Friday, April 14, 2017

SUN ARAW - THE SADDLE OF THE INCREATE (Sun Ark)

SUN ARAW - THE SADDLE OF THE INCREATE (Sun Ark) As you might expect from a trip to the desert with Sun Araw, you’ll lose your own herd quite quickly, and mirages, fata morganas and the like become commonplace; with expectations perpetually teased and thwarted from the fusion of heat-warped synth strokes and pitch-bent steel licks in A Golden Boot thru the quicksilver clip-clop of A Chute, and the tropical, latinate influences that creep over the border into Orthrus, which also features McPeters’ pedal steel at its most plangent; with Campfires framing a charmingly ludicrous scene of quiet, acousmatic rustle pierced by parping modular spurts, and even allowing for a spot of sun-dazed native folk dance in the jerky boned jig and processed croon of 40 Hooves, serving Sun Araw at his most alien and yet uncannily familiar.This is exactly what psychedelia should be for us; weird, silly, cryptic, inexplicable - not earnestly unimaginative and derivative. It would take a fool to accuse Sun Araw of the latter, and this album should hopefully be a smoke signal to all those pedestrian churners who call their music “psychedelic”.

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Monday, April 10, 2017

CARLA DAL FORNO May 13, 2017 at ZDB, Lisbon

Carla dal Forno is an Australian singer, songwriter and multi-instrumentalist, currently based in Berlin. She is a member of the groups F ingers and Tarcar, and formerly cult Melbourne outfit Mole House. Autumn 2016 sees the release of her debut solo album, You Know What It’s Like, on Blackest Ever Black. She is going to play next month at Galeria Zé dos Bois (ZDB) in May 13  > 8
.5 eur

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Friday, March 31, 2017

Dave Saved / NPLGNN (Forever Now)

Dave Saved / NPLGNN (Forever Now) From Italy’s restless post-rave pill-belly, Dave Saved and NPLGNN wretch up one side-a-piece of accreted and aggravated feels in the Eternal Flame tape on their new label; Forever Now. Imagine Mark Leckey’s Fiorucci… reminiscence smeared with The Automatics Group’s spectral trance and dance-pop processes, then filtered by KGB Man with a malfunctioning cassette deck, and you’ve almost got a grasp of this tape’s elusive, K-holing insight. Facing off two of the new Italian weird’s canniest operators, Eternal Flame finds Naples’ Dave Saved, known for his exploratory editions with Gang of Ducks, sharing a particularly wrecked headspace with NPLGNN - who was last spotted on his debut album Paesaggi Periferici for Reel Torque - in two side-long, mentalist tapestries approximating a fractal mosaic of warped, impressionistic experience that’s perhaps more relevant now than the real, original thing in itself. Parsing excavated samples and uploaded memories for glimpses of eyes-in-back-of-head escapism and club culture ephemera through differing approaches, they both present a series of picnoleptic flashbacks as an impressionistic mosaic of scrambled memories riddled with spiritual potential and framed by the moldy grout of existential dread - effectively revealing rave culture’s excesses and metaphysics in a sort of sickening negative relief. On the A-side Dave Saved digitally warps fragments of frothy dance-pop culture into a slow-fast flux of gurning, eyelid-flickering sound imagery straddling the line between lush and grotesque, stretching or condensing each fragment to the point of inevitable collapse or implosion; intensifying the sensation of euphoria until it makes you sick across 16 minutes of detached, OOBEy ephemera belied by a kind of “critical aggression”, as they put it.In the B-side, NPLGNN takes a different route to similar conclusions, noting an autographical, hauntological basis to the method of transforming his own material into a surreal fantazia of watery vocal residues and isolated moments of stunned-frozen, recursive rave stabs allowed to evaporate, along with your mind, out into the ether (infinite smoke machines, eternally dilated strobes) with a proper nightmare/dream quality.If you ask us, it’s the best material in either artist’s expanding oeuvre, and comes highly recommended to any listeners empathetic with Lee Gamble, Dale Cornish’s Ulex, The Automatics Group, Lorenzo Senni, or Teresa Winter’s most extreme, thizzed-out aspects. in boomkat

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Monday, March 13, 2017

DALE CORNISH - Cut Sleeve (Halcyon Veil)

DALE CORNISH - Cut Sleeve (Halcyon Veil) London’s avant prism-pusher Dale Cornish debuts for Rabit’s Halcyon Veil imprint with an acute distillation of pointillist rhythms, stark noise and contemporary politics in the barbed bouquet of Cut Sleeve, following a multi-pronged attack on 2016 which saw him issue singles with Where To Now? and The Wormhole, plus a remix of Billie Ray Martin and a guest vocal on Powell’s Sport. Stripped to the barest truth of biting drums and his own vocals rent within acres of negative space, when compared with his run of solo aces for Entr’acte and The Wormhole, the six tracks of Cut Sleeve conversely amount to some of the most corporeal works in Cornish’s solo catalogue whilst serving to neatly intersect the Halcyon Veil aesthetic from both mutual and personally developed perspectives. Dale wears his politics explicitly and suggestively on Cut Sleeve. Starting with the nagging reminder that “in 2016 it is illegal to be gay in approximately 75 nations and regions around the world” delivered in acrid noise and a slurred tone that makes sure the message rings out slowly and uncomfortably, the session presents in reductionist take on UK and US club music in brittle, certain, and uniquely, drily f*nked-up terms, taking on skeletal steppers templates in Cut and chasmic darkness on LW or Vauxhall, before feeding his own, bestial vocals back into the mix with a blend of glossolalic deviance, cryptic poetry and stoic funk in Emperor Ai.

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Sunday, February 12, 2017

MATTEO VALLICELLI - Primo (Captured Tracks)

MATTEO VALLICELLI - Primo (Captured Tracks) “Matteo Vallicelli is an Italian drummer and composer, best known as the live drummer of The Soft Moon, Death Index, and as a founding member of many renowned Italian punk bands. This winter he debuts his first solo project, Primo, on Captured Tracks. In 2013, Vallicelli relocated from the ancient neighborhood of Trastevere in Rome to the ever-changing Kreuzberg district in Berlin. This dramatic uprooting acted as a catalyst, inspiring him to try and make music on his own. Heavily influenced by the pulsating techno scene of the German capital, Vallicelli began experimenting with synthesizers and drum machines. Recording sounds onto his computer and cassette tapes led him to create a massive collection of loops and samples, sometimes in protracted home sessions where he wouldn’t leave his apartment for days. For Vallicelli, the transition from playing drums in punk bands to sitting alone in his home studio, working on minimalistic electronic compositions, has dramatically shifted his music career. He says, “Being in charge of everything can be disorienting. Having no other band members to work or fight with… I would end up with hours and hours of music that I was never content with, having the possibility to endlessly edit all the parts on my computer. It took me almost three years to learn how to limit myself, to finish up a project and move on to something else. But as soon as I mastered that, I was able to assemble my first album in something like four weeks.” Songs like “Michelangelo” and "Frammenti" were born as techno tracks but, through subtraction, became something different and more representative of the introspective state in which they were created. These two tracks opened up a path for the rest of the music on the Primo, in which most of the songs ironically have no traces of drums or percussive elements, marking a new, liberating way for Vallicelli to make music. The result of three years of experimentation, Primo is ultimately an exercise in self-limitation and discovery.”

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Saturday, February 11, 2017

Turinn - 18 1/2 Minute Gaps (Modern Love)

Turinn - 18 1/2 Minute Gaps (Modern Love) Outta the shadows and into the strobe-light, Alex Lewis aka Turinn debuts on Modern Love with a highly rinsable debut double-pack of sawn-off brukbeats and anxious, nerve-riding grooves brewed in the ravines of North Manchester. Turinn emerges from a new generation of producers in the city that include longtime spar Willow, and upcoming producer Croww, soon to offer up his own debut recordings. Crooked and rugged AF, but tempered by an acute emotive sensitivity, 18 1/2 Minute Gaps renders a bleedin’ cross-section of mongrel, hybrid style ’n pattern in a breathless, deceptively freehand fashion that comes riddled with an electric blue energy all of its own. Committing ten trax of fractious, mutant funk and sore feels, 18 1/2 minute Gaps serves to cap Turinn’s formative phase of production like a lead lid on a nuclear rave implosion; trapping original ‘ardcore ‘nuum, Detroit booty and dank post-punk elements in a perpetual flux of in-the-pocket grooves which ravenously attempt to split at the seams, alternately pushing into Muslimgauze-like buffer zones of distortion or resoundingly wide ambient dimensions, and often both at once. On the first plate, this ambiguous dichotomy is epitomised between the rare surge of quick/slow torque in Ovum, which almost sounds like Chris Carter sparring with Burial Hex, and then in his nod to the Italian new wave with Elba, which seems to find the square root between Lorenzo Senni and some skudgy as heck Kassem Mosse grind, whereas the bittersweet soul of 1625 finds compatible links with his close peer, Workshop’s Willow as well as Japan’s Shinichi Atobe and scene enabler Move D, while Parratactico swaggers into quantum dancehall meters.The second disc is no less deadly: the album title track runs at a nexx level Detroit momentum like DJ Stingray flipping Derrick May and Carl Craig’s Kaotic Harmonies, before ESO cuts in like a super cranky El-B wearing itchy Primark underwear, and the bone-rattling hardcore jungle of Spawn soon enough gives way to the sweetlad couplet of Petrichor and Ondine, where his elusive, distressed melodic touch really shines thru.

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Saturday, January 07, 2017

1991 - No More Dreams

1991 - No More Dreams (No More Dreams) Issued on the new and tributarily-named, No More Dreams label, 1991's first release in four years courses with similar levels of intangibly gorgeous harmonies and ferric noise, although his rhythmic structures now feel smudged farther into the background, or even barely there at all, leaving behind a salty-teared water stain of synthetic shimmer. We’re guessing it must just be incredibly beautiful where he lives, or he’s just one of those helplessly melancholy souls, but either way, there’s something unquantifiable lurking behind his sound that we can return to over and again, and look forward to doing so with No More Dreams.

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Monday, January 02, 2017

SIMON GOFF - Hue (Hiddenseer)

SIMON GOFF - Hue (Hiddenseer) On his project HUE, British multi-instrumentalist Simon Goff explores the musical space between minimal music and drones, music performance and installation. Created with visual artist Sebastian Kite (Royal British Society of Sculptors) and choreographer Lisanne Goodhue (Sebastian Matthias, Tanz platform 2012, 2014), HUE is a work that challenges the traditional notions of dance performance, concert music and visual art exhibition. Using colour as a bridge between their practices, the artists designed an experience that allows people to choose their own method, pace and duration of reception. HUE focuses on the spaces between mediums, encouraging sensitive observation through repetition and change. The sound is created through a series of motion sensors positioned throughout the space that trigger samples and musical devices engaging participants in the sonic creation. Taking inspiration from Terry Riley and his contemporaries, the musical performance follows a modular score allowing an improvisatory approach to interacting with the musical proposition created by participants movement. The result is a soundscape, shifting through ambiences that engulf the listener, propelling them on a journey through colour. Simon Goff is a British multi-instrumentalist, improvisor, producer and composer currently based between Berlin, DE and Yorkshire, UK. He is a classically trained violinist who also spent his formative years studying bass guitar with Herbie Flowers (David Bowie, Lou Reed). A regular touring musician he has collaborated and performed with the likes of Aidan Baker (Alien8, Brokenspine), Bee and Flower (Neurot), Andrea Belfi (Constellation, Miasmah, Nils Frahm) and more. His own music focused mainly on string instruments and electronic processing and in recent years he has written music for dance, film and sound installation. He has performed and shown work in Europe, America and the Middle East and since mid 2016 he has been part of the team at Vox-Ton studios in Berlin working on records for the labels such as Erased Tapes and Naxos as well as film soundtracks with composers Hauschka and Dustin O'Halloran. via kudosrecords

HUE - Trailer from Sebastian Kite on Vimeo.

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Sunday, January 01, 2017

PALADIN - Unknown Zones (Per Musica Ad Astra)

PALADIN - Unknown Zones (Per Musica Ad Astra) "A real treat for any fans of Tangerine Dream, Innovative Communication or Mike Oldfield, PALADIN brings us the contemporary sound of visionary uk synth-prog music via Berlin-based label Per Musica Ad Astra on his album ‘Unknown Zones’. Epic tracks dominate the record in true 1970s tradition, containing suites of music that elevate, transcend and transport the listener in his mind’s eye to faraway exotic realms of musical dreamscapes hitherto unimagined.

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Saturday, December 31, 2016

MIYAKO KODA - In The Shadow Of Jupiter (17853 Tokyo)

Lovely release from Chee Shimizu's 17853 Records. Reworkings of Dip in the Pool singer and lyricist , Miyako Koda, from her first (and quite unknown) solo album "Jupiter". Featuring Jordan Gcz and Wolf Muller... TIP! The original album was released in 1998, and featured productions from well known Japanese artists such as: Haruomi Hosono, Yasuaki Shimizu, Towa Tei, Gonzalez Mikami from Gontiti. Earlier this year, the bands producer Tatsuji Kimura planned this new project with Japanese DJ Chee Shimizu. Together they produced this five tracks mini-album featuring the Amsterdam based Jordan GCZ and Dusseldorf's Wolf Muller. The label say ' The first track on side A, "Io" was created by Yasuaki Shimizu originally. Chee Shimizu made a floating long edit with minimal sequence of synthesizer, sounds of birds and insects. Jordan Czamanski a.k.a. Jordan GCZ re-edited for second track on side B "Ndembu". He created atmospheric soundscape used previously unreleased version performed by percussions unit Ochi Brothers. The third track on side A "Butter" was included original version by Towa Tei who well-known as Dee-Lite. The first track on side B "Sleep In Peace" was included remix by unbelievable group session. Original song was created by Haruomi Hosono and Tatsuji Kimura. Jordan Czmanski added some new melodies by his synthesizer, Tasuji Kimura also played additional synthesizer and new line for bass, and Wolf Müller played his metal bowl percussions. the last track on side B "A Sea Of Love" is remix by Chee Shimizu. He created layered sound wih Miyako Koda's poetry reading and relaxing sea wave. Seigen Ono who is one of top recording engineer in Japan as well as known, he operated mastering for all traces, and sublimated superb sound.' 

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Friday, December 30, 2016

Mundo Urbano #15 (23/12/2016) on Rádio Quântica

Tracklist:
01. Pink Skull - Triangle Shape (Rvng Intl.)
02. Yves Tumor - Role In Creation (PAN)
03. Visible Cloaks - Terrazzo (feat. Motion Graphics) (Rvng Intl.)
04. Peaking Lights - Little Flower feat Chloe Sevigny (Not On Label)
05. Klein - Pretty Black (Howling Owl Records)
06. Metalheads - Terminator
07. Burial - Young Death (Hyperdub)
08. Yves Tumor - Serpent II (PAN)
09. Higher Learning - Found (Not In Label)
10. Kangding Ray - Dune (Stroboscopic Artefacts)
11. Tarquin Manek and Ying-Li Hooi - Sunshower  (Blackest Ever Black)
12. Jessy Lanza - Going Somewhere (DVA [Hi-Emotions] Remix) (Hyperdub)
13. Hype Williams - 13 (Hyperdub)
14. Terrace - In Motion (Djax Up Beats)
15. Blake Baxter -  When We Used To Play (KMS)
16. Planet Soul - Set U Free (E.H.R. Remix) (Strictly Rhythm)
17. Alcatraz - Give Me Luv (AM:PM)
18. Ryuichi Sakamoto - Riot In Lagos (Island Records)
19. Luis - Sheas World (1080p)
20. RIOHV - Juice It (1080p)
21. Ashtray Navigations - Spray Two (Excerpt) (Blackest Ever Black)
22. Jaydee - Plastic Dreams (Original Long Version) (R&S) 

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Friday, December 23, 2016

BOHREN & DER CLUB OF GORE - Black Earth (reissue) (PIAS)

BOHREN & DER CLUB OF GORE - Black Earth (reissue) (PIAS) Bohren & Der Club Of Gore has always been a unique proposition. Initially formed in 1992 by members of numerous grindcore, hardcore and death metal bands, they quickly became famous for creating their own dark, atmospheric and ambient influenced style of "doom-ridden jazz music". They've released umpteen albums since then, with Black Earth - a 2002 exploration of ambient jazz pastures full of horizontal intent - being amongst their most celebrated. Here it gets the reissue treatment, allowing a new generation to wallow in its fine combination of bleak track titles, foreboding chords, hushed percussion and gentle jazz motifs.

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Friday, December 09, 2016

Yves Tumor - Serpent Music (PAN Records)

Yves Tumor - Serpent Music (PAN Records) The Tennessee-raised, Turin-based artist has sown seeds across the contemporary field in visual as well as musical fields over recent years with releases for NON, Janus and Halcyon Veil issued under an expanding roll call of names, as well as visceral live work for LA's Hood By Air earlier this year. However, it’s under the Yves Tumor moniker that he commits his most personal and noteworthy work to date; the result of three years of creative discovery, drawing from a deeply emotional, vulnerable place to grapple with themes of social anxiety, paranoia and missing loved ones to present one of this year’s most staggering albums. Serpent Music covers the full bandwidth of Tumor’s far-flung aesthetics, navigating from lushly organic yet elusively distanced instrumental textures in the opening strokes of Devout and the homesick soul ache of The Feeling When You Walk Away, before more oblique, abrasive drums and layered electronics begin to infiltrate the airborne keys of Dajjal, and with Role In Creation he incorporates the east African motifs heard in his Bekelé Berhanu output, but with a much gentler, more optimistic effect. But just as you begin to get a grip on his slippery scales, Serpent I rushes into a ferocious tribal battery, resolved with the stentorian pastor and doom echo chamber feels of Serpent II, and he really starts to let his mind drift with the conflated pastoral and darkroom noise vibes of Seed, and the eastern-facing Alice Coltrane nod, Spirit In Prison, skizzily returning to smokey vapour trails in Cherish and Face of a Demon, to wash us up on the lonely, distant shores of Perdition. Alongside the likes of Dean Blunt or Klein, Yves Tumor is patently rewiring the conventions of soul music and psychedelia according to his own, twisted schematic and modernist insight, making this album feel vital at a point where conservative sensibilities seem to have permeated the spirit of so many “independently" minded creators.

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Thursday, December 08, 2016

ELI KESZLER - Last Signs Of Speed (Empty Editions)

ELI KESZLER - Last Signs Of Speed (Empty Editions) Virtuoso percussionist Eli Keszler offers up a defining opus with 'Last Signs of Speed', appearing on the freshly minted Empty Editions to follow his previous solo LP for PAN, and interim collaborations with Keith Fullerton Whitman, Oren Ambarchi and Rashad Becker, who is also among Keszler’s most sympathetic sound artists and the mastering engineer for this record. Summing up Keszler’s percussive style is like trying to describe the mechanics of a haywire swiss clock, or, in fact, a repair shop full of ‘em, with each chiming to an alternate meter whilst a swarm of nanobots attempt to get them all in synch. However, subtract the clocks and ‘bots and you’re left with one man and his rarely paralleled, utterly captivating twitch spilling from drums to fender rhodes, piano, mellotron, celeste, Vibraceleste, glockenspiel, rocks and gravel without missing a beat, or even doing so and making an amazing virtue of it in the process. Building on the foundations of his previous releases, which have variably included installation work, improvisations and collaborations, Last Signs of Speed finds Keszler blending his preternaturally fluid patterns of scurrying, brittle small sounds and resonant pulses with subtly layered overdubs of keys and strings, ebbing and swelling with a plasmic schematic that works to laws of physics and rationale perhaps best compared with Rashad Becker’s notional species, and which serves to add a whole new dimension of interest to Kessler’s already remarkable soundspshere. It’s music that seems to exist in a state of quantum flux, folding the structures of jazz, dub and minimal techno into avant garde anomalies that defy the rules of established practice whilst simultaneously resonating with their underlying, intuitive truths. Between Last Signs of Speed, Rashad Becker’s Traditional Music of Notional Species Vol. II, Les Graciés’ Low Doses, and Valerio Tricoli’s Clonic Earth, you have some of the most involving, adventurous sonic perceptions to be revealed in 2016. 

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Tuesday, December 06, 2016

Ice_Eyes - New Frame (Seagrave Records)


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Monday, December 05, 2016

Mundo Urbano #14 (25/11/2016) on Radio Quântica

Tracklist:
01.Dedekind Cut - Descend From Now (Hospital Productions)
02.Prurient - Palm Tree Corpse (Hospital Productions)
03.Drug Labs - Inevitable Fate (Clandestine Records)
04.Jasss- Minotauro (Mannequin Records)
05.Tense - Disconnect Myself  (Mannequin Records)
06.Claro Intelecto - Back In The Day (Modern Love)
07.J.T.C. - Psychedelic Mindtrip (Crème Organization)
08.Yellow Magic Orchestra - Neue Tanz (Alfa)
09.Holger Czukay - Dancing In Wide Circles (Claremont 56)
10.Frank Bretschneider - Lauf Ralf (Mannequin Records)
11.Effetto Joule - Robespierre (Flemming Dalum Remix) (Mannequin Records)
12.Binary Chaffinch - false energy (Invicible scum remix) (Dissident)
13.$tinkworx - Calimari (Delsin)
14.HVREN - $K0T0MA (Clandestine Records)
15.The Thirdman - Travel (Ai Records)
16.Martial Canterel - Secret Stores (Wierd Records)
17.Squadra Blanco - We are the illuminati (Holosynthesis)
18.Dedekind Cut - Integra (Hospital Productions)
19.Marie Davidson - Good Vibes (mocking birds) (Cititrax)
20.Dedmdike Stare - Eurydice (Modern Love)
21.A Number Of Names - Sharevari (Instrumental)
22.Shifted - Life Backwards (Hospital Productions)

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Saturday, December 03, 2016

E.R.P. (CONVEXTION) - New Road (Tuppence)

E.R.P. (CONVEXTION) - New Road (Tuppence) We've been rather spoiled this year with new Convextion material. His 2845 full-length on Artless is arguably one of the best electronic albums of 2016, while his ambient-leaning 12" on Acido was also breathtakingly good. Here, he rounds off the year with a fine 7" single containing two terrific tracks. The veteran producer begins with new road, a delightfully spacey combination of cascading melody lines, similarly tumbling bass, and punchy but laidback electro beats. It's evocative and emotion-rich like much of his best work. Similar accolades could be heaped upon flispide "Summer Nights", a warmer and woozier concoction that sounds like Larry Heard in electro mode. Listen!

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VERCETTI TECHNICOLOR - Golden Taurus EP (Crimes Of The Future)

VERCETTI TECHNICOLOR - Golden Taurus EP (Crimes Of The Future) Crimes Of The Future is the kind of label you can trust, no matter who is at the controls. The same could be said for Giallo Disco, and certainly the two labels orbit a similar space for lurid soundtrack-inspired hardware jams from the Italo age. Vercetti Technicolor is one half of the Giallo team alongside Antoni Maiovvi, and here steps out with a perfectly bombastic range of compositions that revel in B-movie brilliance. "Golden Taurus" is the perfect slow-burner, those mono bass notes warming like no soft synth ever could, while "Topaz Fear" brings a more action-driven sequence into the mix. "Death Wish" too opts for a pumped up club scenario, while Heinrich Dressel smokes out "Golden Taurus" into a seedy slow-jam.

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Friday, December 02, 2016

Heinrich Dressel - Space Wave Shaft (Slow Motion)


Heinrich Dressel - Space Wave Shaft (Slow Motion) For the fourth edition of Slow Motion's Soundtrack Serie we welcome Heinrich Dressel, better known as one part of Minimal Rome. Space Shaft is three tracks of dreamy, sleazy space-funk delivered with a light touch across expansive musical horizons. Backed up with a brace of Ma Spaventi versions - both 'disco' and 'chill' Space Shaft is a record for movie fans and dancers alike.

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Tuesday, November 29, 2016

DARKPYRAMID - New Humans (Dream Catalogue)

Format: cassette limited to 200 copies/ Digital
Cat: DREAM 130
Released: 25 Nov 16
Genre: Ambient/Drone
Label: Dream Catalogue
Artist: DARKPYRAMID

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Monday, November 28, 2016

BURIAL - Young Death / Nightmarket (Hyperdub)

Burial has shared a pair of new songs, “Young Death” and “Nightmarket.” This weekend, the record surfaced on Discogs and was accidentally sold at a Toronto record store during a Black Friday sale. The 12”, out November 30, quickly sold out on Hyperdub’s Bandcamp; you can buy the songs digitally now. Listen to them below.
Earlier this year, the British producer collaborated with Zomby for “Sweetz,” a track from Zomby’s new album Ultra.

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RR HEARSE/FURNACE MISKIN - Swinging Scarecrows (Hypnos)


RR HEARSE/FURNACE MISKIN - Swinging Scarecrows (Hypnos) Furnace Miskin – mini synth, lead vocals

RR Hearse – mini synth, drum machine, spoken word
Words – RR Hearse
Composed, arranged, and performed by Labros Tsamis and Theophanis Melas
Recorded live on audio tape at Labros Tsamis´ appartment 17.11.1988, Athens, Greece
Produced by Labros Tsamis
All songs are kindly permited by Labros Tsamis Archives
Cover by Theophanis Melas
Restored and mastered by Stefanos Konstantinidis
*Limited edition of 50 cassettes*

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DEMDIKE STARE - Wonderland (Modern Love)

DEMDIKE STARE - Wonderland (Modernlove) Demdike Stare return with their first album since 2012’s Elemental, a feral, loose-limbed and angular rave odyssey wrecking Dancehall and Jungle templates via found sounds, Ambient and exotic spaces. Wonderland plays the full breadth of the duo’s wide open aesthetic, taking their Testpressing series of dancefloor lashes - issued on 12” between 2013-2015 - as the diving board for an innovative, reverie-like album forming a parallel dancefloor narrative where the spirits of mid ‘90s jungle and digital dancehall are made plasmic, malleable, and syncretised with industrial and ambient techno sound design. Rooted in record collecting and the art of DJing, and in line with Demdike’s atypical style and pattern, Wonderland veers across styles and temporalities, forming wormholes between Hardstyle and submerged jungle in the curtain-raiser, Curzon, and going in like Slimzee slicing up grime dubs with jungle in the crackden atmosphere of Animal Style, whereas the eleven minute Hardnoise catches them at full stretch, tumbling from head-rinsing noise to a dank, sublow techno mission framed by unsettling ambience somewhere between Prurient’s Rainforest Spiritual Enslavement episodes and a mutant variant of classic Exotica, before coughing you up someplace else. At the album’s epicentre, FullEdge (eMpty-40 Mix) obliterates distinctions between dancehall and techno as you’ve never heard, an edit that re-laces their formerly mutually exclusive ligature in a belly-tightening and brilliantly messed-up new mutation, before Sourcer prangs out like a cyborg calibrating itself to ragga jungle arrhythmia, and the psychoacoustic nose drip of Fridge Challenge dissipates into the ‘static thizz of Overstaying at the LP’s perimeter, like some DJ Sprinkles cut paused at mid-flow and delayed, re-shaped into a tense burner. It’s probably the most enjoyable and loose-limbed hour of music in their catalogue, or that you’ll likely hear in these weird, angst-ridden times. 

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