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Sunday, March 18, 2018

Mundo Urbano #26 (16/03/2018) at Rádio Quântica

Mundo Urbano Episode 26 Re Run (16/03/2018) on Rádio Quântica (Originally played in 16/02/2018)

01.German Army - Cochinat
02.Hodge - Beneath Two Moons
03.Annanan & Maroje T. - Confrontation In Terms Of Sexuality
04.Caterina Barbieri - Information Needed To Create an Entire Body
05.Phork - Undone
06.Infinity Frequencies - Cascading Rainfall
07.Sagat - Sigh
08.Ondness - a mantra for 2013
09.Basic House - No Lotion
10.Dean Blunt - I Run New York
11.Dean Blunt - V
12.1991 - Inside You (Infinity Freq. Edit)
13.Stefan Blomeier - Trance Regression
14.Wasted Nights - Palm
15.Cappo Blanco - O'love
16.Cappo Blanco - Kamilla
17.Cappo Blanco - Hi, Belmondo
18.Cappo Blanco - Amphibian
19.Sunday Morning - Let's Do It
20.SFV Acid - Library
21.Stefan Blomeier - Dream That Can Last
22.Frak - a1 Untitled
23.Parris - 2 Vultures (feat. O$VMV$M)
24.Theme - Passage 1
25.Theme - Passage 2
26.Theme - Passage 3
27.Cub - CU-1 (Original mix)
28.Regis - Blood Witness (Downwards Extended Version)

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Thursday, March 15, 2018

ALVA NOTO - UNIEQAV (Raster Noton)

ALVA NOTO - UNIEQAV (Raster Noton) Carsten Nicolai concludes Alva Noto’s UNI-prefixed release cycle with UNIEQAV, the 3rd and most dancefloor-focussed instalment of the series. The follow-up to Unitxt [2008] and Univrs [2011] pairs pendulous minimal techno and electro rhythms with wide, sheer electronic drones in a way that strongly recalls recent Monolake output as well as Ilpo Väisänen in full swang. Comparisons aside, though, it’s unmistakably Alva Noto.Pursuing the project’s roots in the dancefloor of Tokyo’s UNIT club to a satisfyingly logical endpoint, Nicolai rolls out 12 typically mercurial yet gripping sound designs defined by their fluid dynamics and seemingly fathomless dimensions intended to render the club or your head underwater, thanks to a still remarkable grasp of purified tonal minimalism/maximalism and studied sensitivity to proprioception.The results are filigree yet robust, firmed up for deployment on the sickest sound system you can lay your hands on, but also highly pleasurable in a headphone or sofa-inclined context, keeping us rapt and twitching from the dubwise plong and looming pads of Uni Sub and the Robert Henke-esque pressure systems of Uni Mia.The nervous skeleton of Uni Version flows into singular Alva Noto sounds in the jabbing pointillism of Uni Clip and the staggering scale of Uni Normal, with major highlights in the widescreen drama of Uni Blue, and footwork-like rapid movement join Uni Edit, while Anne-James Chaton’s vocal lend a sharp contrast in Uni Dna. Recommended!

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Tuesday, March 13, 2018

Shinichi Atobe - Butterfly Effect (Demdike Stare)

Shinichi Atobe - Butterfly Effect(Demdike Stare) Out of print since 2014, Limited Edition Re-Press, edition of 500 copies. Includes an instant download of the full album plus 4 bonus tracks. Having released just one seminal 12" on Chain Reaction back in 2001, Shinichi Atobe was tracked down by Demdike Stare only to be found with a vast vault of unreleased material. This double-pack release brings together some cherry-picked morsels from this haul, shedding fresh light on the mysterious and alluring sound of an almost forgotten Japanese producer. There are more obtuse noise and industrial moments such as "Free Access Zone 4", while other moments are full of sweet and crisp house grooves with wistful atmospherics. The diversity on offer is quite something, but whatever style is tackled, Shinichi Atobe brings a haunting quality to bear on his music.

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Sunday, March 11, 2018

Les Halles ‎– Home Away From Home (Carpi Records) ‎

Les Halles ‎– Home Away From Home (Carpi Records) French exoticist Baptiste Martin has been crafting fragile pastures of pan flute, field recordings, and stargazing keys as Les Halles since 2012, inspired by a formatively nostalgic night alone “watching the summer sky, thinking of all the mystery."Home Away From Home" was released back in 2013 on Carpi Records. 35 minutes of improvised hypnagogic and relaxing sounds. TIP! [Download it for free on Bandcamp]

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Saturday, March 10, 2018

MUTANT BEAT DANCE - S/T (Rush Hour Holland)

MUTANT BEAT DANCE - S/T (Rush Hour Holland) Mutant Beat Dance has returned with their debut self-titled 25 track album, a record album booklet consisting of 6 records in 3 different formats of 12"s, 7"s and 10”. Huge! The debut album from renegade trio Mutant Beat Dance (Traxx aka Melvin Oliphant, Beau Wanzer and Steve Summers) takes the wild and free sound of Chicago’s Music Box era into the 21st Century. Mutant Beat Dance was originally a duo made up of Traxx, and molecular biologist, Chicagoan Beau Wanzer. Traxx and Beau have been working on this concept in various forms throughout the last decade on solo and duo releases for Discos Capablanca, Rong Music, Hour House Is Your Rush Records, L.I.E.S, Light Sounds Dark, Rush Hour, Jealous God, Beau’s own untitled label and Traxx’s own Nation label. After this rack full of releases the duo began to refine their concept from 2015 on into its most thoroughly developed state – the result is this epic 25 track, 200 minute long debut M.B.D album for Rush Hour.Given the scope of the material for the project it became logical and necessary to expand the unit to include its newest member Brooklyn based Steve Summers known for his releases on Clone Jack For Daze, Confused House and others. Together this hard-working trio has completed an album with an enormous diversity of song styles unlike anything they have ever done before. Unique in its musical range and content from obscure electronics with subliminal messages to funk laden machine grooves, industrial soundscapes, Detroit dirge, cryptic ankle bitter anthems and beyond this is a genre-bending challenging monster of an album that may scare you at first but push forward and deep rewards lie within. Recommended!
via RH

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Sunday, March 04, 2018

Luke Sanger - Traversing Timelines (Frequency Domain)

Luke Sanger - Traversing Timelines (Frequency Domain) The eighth release on Frequency Domain is one of the label’s most hypnotic yet: a deep and potent collection of ambient worlds by Luke Sanger. The music on Traversing Timelines has an eerie, inward-facing energy, with its soft alphawave and sleepstate pulses playing off against roaming motifs and sharp, spiderwebbed melodies. The combined effect is transportive: music that seems to hover at the juncture between multiple levels of consciousness. Recommended!

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Saturday, March 03, 2018

Mahesa Almeida - A LT O/P A N (Hasana Editions) C32 (XVIII-II)

Mahesa Almeida - A LT O/P A N ( Hasana Editions) Mahesa Almeida is a visual artist, oblique musician and video game connoisseur from Jakarta. Previously known as half of a visual/sound bangers duo with his wife under the moniker Kracoon. Taking a lot of inspirations from the golden age of arcade culture, in this solo output, he revisited the archaic line between computer music and sound synthesizing, capturing soundtracks for/from a long lost space invaders cinematic. Recommended!

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“Joan” (aka Mind Safari) - ジョアン (Fungo Label)

“Joan” ジョアン is the debut album of Joan, composed and produced by the portuguese fellow João Melo (aka Mind Safari). Pads, textures in a world where there is no time and space. The album inccludes remixes by Farwarmth and Floresta Oblíqua. Art work by Nuno Patrício.  Joan is strongly influenced by the soundtracks of japanese video games, also tries to transmit tense as well as melancholic moments along rhythmic pieces that stand out on his music. Album released on Fungo Label, 03/03/2018. Cool Tip!

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ISMO LAAKSO - Ofelia (Sahko Recordings)

ISMO LAAKSO - Ofelia (Sahko Recordings) In a way that resonates with our most febrile musical dreams, Ofelia sounds like a scrambled radio transmission which modulates with jazz-wise logic and timing between myriad sources, juxtaposing their lopped ends in a spellbinding play of anticipation-baiting, oneiric logic. One moment we’re listening to an almost machine-like english vocal serrated by radioactive electronics (Translucent), while the next we’re in the midst of sloshing, unsteady breaks and ambient soul vocals joined by angelic, Hassell-style chorales (The Favourites of the Emperor), or disoriented by fusions of Finnish monologues with field recordings and visceral electronics (Koskenhaltija). Soon enough we’re drawn into a surreal scene of baroque and jazz-wise chamber music (Smell), and then what sounds like Charlemagne Palestine duetting with Maja S.K. Ratkje (Ofelia), and never with any kind of explanation or reason for how we got from points A to B. For some folk, that actually probably sounds like a nightmare, but if you’re a bit of weirdo, we reckon that it’s all is going to spin you out in the best sense.Very highly Recommended! in boomkat  

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Wednesday, February 07, 2018

Christoph De Babalon - If You're Into It, I'm Out Of It (Cross Fade Enter Tainment [CFET])

Christoph De Babalon - If You're Into It, I'm Out Of It (CFET) «A late ‘90s neo-noir ambient and D&B masterpiece - imagine if The Caretaker made fierce, unrelenting Jungle - fully remastered by Rashad Becker and reissued 21 years since its original release back in 1997.» Christoph De Babalon was a key member of Germany’s mutant splinter cells who fused UK rave music with more experimental, Teutonic techno, Ambient and hardedge politics to brutal effect during the mid-late ‘90s. 21 years later, this music has patently withstood the test of time, distinguished by a haunting atmospheric pallor and ruffneck way with Jungle that still makes us feel just as clammy and psychotic as when we first heard it (most likely on a trip to Berlin or via Christoph Fringeli’s invaluable C8 database). For us, If You’re Into It, I’m Out Of It really distills a feeling of that era, as the utopian outlook of rave’s early years had evidently given way to something much darker, more maudlin, perhaps symptomatic of ennui with dance music’s hyper-commercial land grab, or even a pre-echo of pre millennial tension. Either way it provided the perfect soundtrack to ravers who were spending more time developing virtual lives online, or (speaking from experience) who weren’t yet old enough to go raving, but were shelled with media images and 2nd impressions of the culture, which had by then morphed into the prevailing trends of garage, trance, and prog house, and was but a ghost of its original, loony self. If You’re Into It, I’m Out Of It therefore feels torn between extreme states. On the one hand it goes harder than the rest in killer rave moves such as the hardcore rattler Dead (Too), the epic amen + drone blow-out My Confession, or the cutthroat beast Water. But on the other, he goes darker, more haunting than the rest of his field with remarkable cuts such as the 15 minutes of billowing dark ambience that open the LP in Opium, or with the sublime, Gas-like suspension system of Brilliance, and the funereal, bombed-out bliss of High Life (Theme). De Babalon effectively plotted out terrain that bridged DJ Scud’s rugged jungle breakcore with soundscaping more commonly associated to Thomas Köner or Deathprod, and in the process set the ground for myriad contemporary producers and sounds ranging from Raime and Blackest Ever Black to Demdike Stare, Pessimisst and beyond. If You’re Into It, I’m Out of It was, and still is, a deadly statement of intent, whose rhetoric and aesthetic still strongly resonate with subcultural concerns in 2018. HUGE!!!! in boomkat

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Thursday, December 07, 2017

Rabit - Les Fleurs Du Mal (Halcyon Veil)

Rabit - Les Fleurs Du Mal (Halcyon Veil) «...Rabit gestures his sounds with a remarkable freedom of rhythmic meter and freehand strokes that belies its meticulous construction below the surface. Cecilia’s vocals and the sharp strings of opener Possessed suggest the spirit of Baudelaire’s text heard at street level, while the dissonant stress of Bleached World - a secret weapon ’til now - expresses a beautifully bittersweet anguish, and the recursive curdle of Ontological Graffiti catches in the throat with uncannily emotive effect. The Whole Bag locates his firmest dembow rhythms, but buried under collapsing sidereal pressure, and Cecelia’s return in closer Elevation perfectly emulates something like new age tristesse, which defines the record’s humanity in the face of such uncompromising synthetic sensations». in boomkat

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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 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) 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

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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