Mondo Groove present a reissue of Azoto’s Disco Fizz, originally released in 1979. Azoto is a project by Celso Valli, one of the most important exponents of Italo-disco. He pioneered the whole Italo sound, with incredibly ahead of their time productions going right back to the ’70s. Disco Fizzcontains “San Salvador”, one of the most covered disco tracks of all time, which has reared its head under countless of remixes and cover versions, however if you dig a little deeper this album is packed full of incredible and timeless Italo disco: “Anytime Or Place” literally jumps out the speakers to get you moving, while “Exalt-Exalt” showcases their take on the darker side of electronic disco. Disco Fizz bridges traditional disco from the American ’70s with the space-age synthesizer/vocoder-powered Italian brand of disco that was beginning to invade with new innovations at that time. A must-have for any DJs.The record is officially reprinted on LP for the first time from the original master tapes.
October Language is the debut album by New Orleans based duo Belong, comprised of Turk Dietrich and Mike Jones. Since its release in early 2006, Belongs debut masterpiece has accumulated a dedicated cult following, with comparisons to the work of Christian Fennesz and Gas, with some claims that it plays like My Bloody Valentine’s Loveless (1991) sans the songs. While these comparisons are useful for filing this album into a particular bin in the record shop, time has proven thatOctober Language is a unique album which remains unmatched by its contemporaries. Despite the warm and welcome accolades of the albums arrival, there was no vinyl pressing until 2009, of which a limited one-time pressing vanished immediately. Spectrum Spools present a pristine vinyl cut to go with reimagined album art for the definitive edition of this legendary classic. Includes download card with three extra tracks from the impossibly rare Tour EP from the same era (2006). These tracks are exclusive to the vinyl purchase and are not available through digital outlets.
Another indispensable compendium of the great French experimental artist’s musical opera. With this four-LP box set of fully unreleased archival materials, Ariel Kalma ideally retraces the map of his own path and spiritual journey during the ’70s. Some of music contained in Sarasvati Planet Ariel, Planet Air,Ascend Descend, and Astral Cathedral are born as sound environments for group therapy sessions that carrying healing, trance, and relaxation. The occult and arcane music of Kalma awakens consciousness, expands chakras, sculpts memory indelibly, appears to encompass all the emotional aspects of the universe, and brings its listeners back to the archetypal moments of creation. What is most impressive is the variety of atmospheric stimuli, the rich source of inspiration and compositional mastery. The solemn, triumphal and liturgical, meditative and ascending tone of celestial chapel organs and harmonium, the darkness of Farfisa and Yamaha PS-30 lunar and spectral sequences, the exotic oriental breath of circular dances transfigured and dissolving by the specular shapes of the Wasp Synth… everything converges to the purity abyssal of eternity sound. The melodic and harmonic phrases of sax always reveal a deep song, while the solar blow of flute gives elegiac moments of Debussyian flavor as bucolic recalls of fauns from Eden’s lost. Listeners will be struck by equinoxial and solstitial lights, in perfect balance between flares and shadows, nature and galactic procession. Kalma’s sensitive ear is expressionist, almost a possible scenario for astral architectural utopias of visionaries such as Hablik, Taut,Steiner, or Poelzig; it absorbs and re-reads in a personal way some insights of the cosmic psychedelia of the early ’70s such as K. Schulze, Heldon, Tangerine Dream, Popol Vuh. The music is fully unreleased, with only a few tracks being different versions of previously released tracks.
Instant is the trio of Bernd Schöll (Bass, Vocals, Rhythm), Mike Hauer (Guitar, Synth, Percussion), and Marion Siekmann (Vocals) from Munich, Germany. They formed in 1980 after meeting through mutual friends attending the local art and graphic design school. The trio were dissatisfied with their surrounding musical environment. Inspired by the Velvet Underground, Kraftwerk, and Giorgio Moroder, they set out to create their own brand of Neue Deutsche Welle fusing Dada, disco, and Krautrock. Over the course of 2 weeks in Summer 1980 the band teamed up with local producer Mario Strack to record 6 songs. These would make up their debut eponymous album that was originally self-released on 10” vinyl in 1981. They utilized a simple set up of guitar, bass, and keyboards, plus the BOSS DR-55 Dr. Rhythm drum machine. Metal scraps clanging appear on the tracks “Do Not” and “Optimate Minimum”, and a washing machine was sampled on the track “Joyboy”, which features Marion reading from the appliance’s instruction manual. The A-side features 4 tracks in 11 minute, while the B-side hosts 2 songs in the same stretch of time. “Charade” features no wave saxophone accompaniment from Kai Taschner of Munich New Wave band Luna Set. Marion’s vocals are between Nico’s Teutonic chill and Alison Statton’s (Young Marble Giants) playfulness, while Bernd takes a monotone approach. Lyrics for “My Boy” and “Everybody’s Gotta Mutate” were adapted from ‘Rotwang’, a fragmented novel written by Tim Hildebrandt, one of the brothers famous for illustrating the works of Tolkien. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a replica of the original jacket design, which features a neon red screen-printed drawing of a cut-out doll family on a stark white background. Each LP includes a postcard insert with lyrics.
Rekids latest signing Peggy Gou serves up two subterranean slices of quality with L.I.E.S. producer Terekke providing a remix. The South Korean artist. who was raised in the UK and now resides in Berlin. kick started 2016 for Rekids with her Art Of War release. She now returns to Radio Slaves imprint with a sequel. Jen High boasts a heady bassline whilst quivering synths make way for serene key melodies. ‘When Round. They Go then deploys robust kicks as ebbing pads join acid licks. before Germanys Terekke provides a floating rendition comprised of soaring atmospherics and jazzy aesthetics.
After a successful release with Church Recordings at the start of the year Ben Hauke returns to his label WOOP Records for a five track EP . First Takes. First Takes EP combines the sounds of broken beat and house music with a strong nod to 90s Hip Hop throughout. Ben is cementing his own sound and approach to music through his eclectic sampling of jazz records detailed drum sequencing and no nonsense attitude
Setting the tone for the record, Ben starts with a raw 2-step swinging jazz rhythm ‘One forGoldtooth’. This short and snappy banger highlights Ben’s standalone sound - not quite Broken Beat - not quite Hip Hop - but somewhere in between. We follow with ‘Sideman’, a floor filler with a serious London attitude and a soulful vocal to accompany it. Next track ‘I Don’t Believe’ feels like a broken beat remix of your favourite hip hop instrumental, with high energy drums pushing the song forward throughout. This track will be on repeat for a while! The B sides of this release are straight house bangers starting with ‘Yeh Yeh’ featuring 2016’s much hyped saxophonist Nubya Garcia. ‘Yeh Yeh’ is a down-tempo jazz house roller which is sure to be a DJ favourite. We end the EP with a hard hitting Mr. G inspired track ‘film yourself, you’ll feel better’. The addictive vocal loops and serious bass part in this track makes it a perfect midsetfiller with lots of room to play with.
In his own words, the EP follows a loose narrative reflecting on the ebb and flow of ones mental state throughout any given day: where it lies as you wake, go about your day, meditate, stress, and rush about a busy unrecognisable city. Every console has its processing limits, and people are very much the same. Hopefully this collection strikes a balance between introspection and peace as it does rhythmic propulsion and face-screwing mirth.
Lapiana has composed an album where you get to travel with him on a sonic journey into the deepest corners of his mind, baring vulnerabilities as well as strengths. Intraverso carries a feeling of ancient atmosphere via its melodic language through its whole running time, perhaps since the foundation of the album is based on emotions and the mind. Thoughts, feelings and mental states that always have been with us, no matter the time and place. It is a mature debut album for an artist that proves he is willing to risk going into different areas than the tried and tested ground. One might say Intraverso is a record created for an introvert introspective dancer, willing to see what lies beyond that of which is visible at first glance.
From the knowledge gained on our expeditions. we are able to track down the jets fired during each unique eruption and share them with the people of this majestic orb. The first squirt led us to The Yard in Hackney. where Ross From Friends performed live for one of the first few times in his already sparkling career. >From the performance came a track called ‘Champagne’. a wave of sax washing over you accompanied by plinking guitar and of course those fuzzy hi hats that go right to your head. This track could previously only be experienced by seeing the trio play live or by watching our documentation of the performance. until now. We’ve printed 300 copies only of this vintage moment from the summer of 2016.
Melody As Truth returns with Talk From Home an album from Los Angeles native Suzanne Kraft. Talk From Home showcases Krafts emotional depth as a producer. and skill as a multi-instrumentalist. Recorded over a few weeks in the winter of 2014. the intimacy of the recordings shines through in a melancholic yet hopeful world of melody and tone.
The No Man Is An Island EP is a single cut from the debut album of the same name by Aalko. a new project by Kebko Music founder Akiko Kiyama. Renowned for her minimal techno track featured in Richie Hawtin s seminal DE9 Transitions album. the Japanese producer reveals her another side under this new alias. The project has already created a stir as Aalko has garnered support from Gilles Peterson on his BBC 6 Music radio show and premiered a live performance at MUTEK’s Tokyo launch. where she drew the audience into an inspiring frenzy.
Aalko is a culmination of Kiyama’s recent practices in a wider musical spectrum that go beyond the confines of her minimalistic techno characteristics. It conjures her distinctive soundscape where a variety of styles coexists: she demonstrates her knack for breaks, ambient and irregular time signatures, her acute ears for unadulterated tone and texture of sounds standing out in sharp relief.
Taking a floor-oriented side out of the No Man Is An Island cassette album, this single cut features three tracks that work wonders in a DJ context. “Body & Soul” is an erratic rhythm experiment jumping between several beat styles. “Mixture” offers Kiyama’s unique interpretation on syncopated dynamics of breaks. Wrapping up the EP is ‘B.I.C’, a long-awaited exclusive track that ranked among Gilles Peterson’s top 20 tracks of 2017. Its dubby functionality makes it a powerful tool that can work at various stages of the night.
These tracks give the nod to Kiyama’s peculiar self full of sonic idiosyncrasies, showing no fear of breaking accepted conventions.
Limited Classic Repress !! Including amazing tracks like Scientist. Pornoactress. Sterilization. Rocket scientist. Cellularphone and Speak and Spell. This is almost as important for a complete techno generation as Kraftwerks Computerworld and Autobahn was for many in the 70 s. Finally available again after being out of print for years!
FIRST TIME EVER ON VINYL!. Wyrd War very proudly presents the original motion picture soundtrack to Ralph Bakshi’s animated masterwork Wizards on vinyl for the very first time! Ostensibly Bakshi’s “family film,” this almost impossibly PG rated post-apocalyptic “fantasy epic of peace and magic” emerged like a strange fungus through fissures in the Hollywood machine in 1977 topsychedelicize unsuspecting audiences with slouching android assassins, nearly nude fairy wenches, supernatural siblings skirmishing for world domination between slugs of cheap wine, demonic dog soldiers belly-crawling through skeletal landscapes of airbrushed fog, and, perhaps most memorably, terrifying genocidal elfin warfare punctuated with Leni Riefenstahl stock footage, all perfectly choreographed to a beautifully ethereal sci-fi jazz soundtrack seemingly scorched with atomic energy. Such music! Composer Andrew Belling delivered one of the first truly musical scores for a major Hollywood film composed almost entirely for ARP 2500 and ARP 2600 synthesizers. 40 years after its theatrical release, the music of Wizards continues to fascinate, perplex and inspire viewers, like a beautifully handcrafted Rorschach test of the late 20th century’s excesses, hopes and increasingly foreboding anxieties of things to come. Mastered for vinyl by Timothy Stollenwerk and featuring massive gatefold insert liner notes by Dennis Dread with exclusive new interviews with director Ralph Bakshi and composer Andrew Belling.
Zola Jesus’ Okovi: Additions LP offers a new angle on her 2017 album, Okovi. The collection pairs four previously unreleased songs from the Okovi sessions with four remixes by a diverse cast of artists. Johnny Jewel turns “Ash to Bone” into a late-night cinematic torch song, Tri Angle composer Katie Gately’s “Siphon” is a dark choir of warping angels, black metal band Wolves in the Throne Room’s take on “Exhumed” makes the pounding industrial anthem even denser and heavier, and Toronto producer Joanne Pollock (formerly one half of Poemss with Venetian Snares’ Aaron Funk) makes “Soak” feel like an aching classical standard- until it starts warping in on itself and goes somewhere else entirely.
Project Pablo announces new EP “There’s Always More At The Store”, released 6th April 2018 on 12” and digitally via Ninja Tune’s Technicolour imprint. The Canadian producer has built an impressive discography in recent years with a stream of quality releases via labels such as Clone’s Royal Oak imprint, Spring Theory, Lone’s Magicwire and most recently his “Hope You’re Well” EP on Ninja Tune’s Technicolour imprint. Pitchfork were quick to acknowledge his unique production style and innate ability to balance the openness and experimental qualities of the back room and the hooks and sonics of the main room describing previous single ‘Is It Dry?’ as “a rarity: peak-time techno that won’t rot your brain or insult your intelligence, with appeal from the basement to the big leagues”. Following recent excursions channeling the big room sound, he returns with a sleeker, more refined EP. “For this record I pushed my self to keep things more minimal than usual, in a relative sense.” he explains. “Focusing on repetition in melody, rhythm and harmony, putting a lot of trust in my initial ideas and letting them play out. It was harder to stop than to add more.” The resulting five tracks span upbeat opener ‘Napoletana’ – “a rough and ready duet between a MFB 522 drum machine and Juno 106”; through the swirling improvised piano loops of ‘Last Day’ – recorded in an hour just before he packed up his gear at the studio of fellow Montreal residents Braids and moved it all home; to the bumpy 2-step of ‘Less and Less’.
On New Path, their second album for DFA, Montreal electronic duo Essaie pas (Marie Davidson and Pierre Guerineau) take inspiration from Philip K. Dick’s A Scanner Darkly, a dystopian science fiction classic. The album sounds like the book reads – a voyeuristic, druggy, and paranoid narrative of existence in the surveillance state. “I read the book a long time ago, maybe 15 years ago, and it had a strong impression on me,” explains Pierre. “In our previous work we always looked to music as inspiration in our lives, but this time we felt the desire to try something different, that’s not based on ourselves but on someone else’s universe. It was going to be more conceptual, more political.” New Path touches on addiction, loss, and the lingering strength of identity within late capitalism’s mass media paranoia. It pins down the central character’s destructive tendencies, using this as a metaphor to explore the dichotomous rupture between our inner lives and our social environment, one that is often fed and soothed by various kinds of dependences. Essaie pas possess a wiry, experimental take on the more leftfield end of techno music, in the way of pioneers Chris & Cosey and Cabaret Voltaire, as well as newer acts like Fever Ray, Factory Floor, and Helena Hauff. The album trades in hypnotic pads of strings, punctuated by dramatic stabs and sensual rhythmic patterns, with Marie’s tripped-out, pseudo-scientific verbiage further adding to the ambience. The world the duo have created here offers a tangled vision of tomorrow’s aesthetics, a soundtrack stacked with cold music for cold times.
For those not schooled in Drexciyan history, Lab Rat XL was a short-lived alternative alias of the legendary Motor City electro duo. Mice or Cyborg, the project’s only release, originally appeared on Clone in 2003, just months after member James Stinson passed away. These days original copies are highly sought after, making this reissue more than welcome. It remains a superb example of timeless, otherworldly electro and techno fusion, with Stinson’s penchant for ethereal melodies, atmospheric chords and fizzing drum machine rhythms – such a regular feature of his work with both Drexciya and the Other People Place – rightfully coming to the fore. Naturally, the inherent positivity of some of the tracks is counter-balanced by clandestine creepiness in others, making Mice or Cyborg a brilliantly balanced and hugely entertaining collection of cuts.
Music From Memory’s sister label Second Circle returns with their first release of 2018, this time with a four-track EP from French producer and Antinote-via-Melody As Truth affiliate D.K., aka Dang Khoa Chau. Titled Mystery Dub EP, this new record features two percussive house cuts on the A side with two more evocative compositions on the flip. Recorded in his studio in the 11th district of Paris, the release showcases a wide yet characteristic palette of sounds and textures the Parisian artist has been sharpening over the years: atmospheric/hypnotic strings, warm pads, dreamy landscapes, and spatial rhythms.
You know the summer starts right about now with the arrival of ‘BALEARIC 3,’ the third in the ongoing series of annual ‘BALEARIC’ compilations which capture the rooted and contemporary spirit of laid back Ibiza. Compiled by Ibiza fixture Jim Breese, available on 180 gram double vinyl, CD and digital formats, and presented in a stunning and collectable package.
Here’s a glorious selection of 12 bright and sun-drenched moments destined to be heard daily at the world’s coolest beach clubs this summer and inevitably soundtracking a million gorgeous sunsets in Ibiza. This edition features exclusives aplenty. There are two album-only tracks; the first is a cassette recording from Tommy Awards getting an Ambient remix courtesy of Balearic label man Jim Breese to create an any-time-you-like tranquil sunset moment. Then The Madrigal blasts off with ‘Ride To The Moon,’ a completely unique track which doesn’t take itself too seriously – incredibly refreshing to hear.
Like all volumes in the series, BALEARIC 3 captures the ineffable spirit of Ibiza – perfectly accompanying that unique moment when the golden sun meets the gleaming sea. It’s destined to be a classic, go-to album you’ll reach for again and again – the soundtrack to your summer.
Pacific Rhythm returns with a slight deviation from the Vancouver sound to explore transmissions from the Eastern corners of Canada. Four introspective yet club forward dance tracks from one of Canada’s finest producers (and a remix from his flatmate) are the result. Have a listen, we think you’ll like it!
It just had to be done! A remix package for Tornado Wallace’s critically-acclaimed debut album Lonely Planet’ (RB 009CD/LP, 2017). Guest list: I:Cube, Move D, Prins Thomas. Menu: two masterful house music takes on “Today”, one psychedelic bongo shuffle with the parts of “Trance Encounters”, and an added bonus beat. Results: Entertainment, excitement, enticement.
Having recently appeared on Bosconi Records and Altzmusica, Daisuke Kondo is a producer on the rise at present. This outing on Vibraphone adds fuel to that particular fire with four distinctive cuts that push to the outer edges of house music without losing sight of the groove. “Hold On To Love” is, on the surface, an upbeat, disco-infused house jam, but there’s a certain trippy approach Kondo takes in the processing department that edges the music into a different head space. “Life” meanwhile gets gritty and bass heavy at one end of the frequency range, and airy and melodic at the other. “Feelin Blue” gets even dustier and scratchier with its sample treatment, and then “Fallen Star” lays down some unflinching machine beats with wonky, distant piano licks.
Wewantsounds present a reissue and the first international release of Hiroshi Sato’s ultra-rare synth masterpiece, Orient, originally released in 1979 on Kitty Records in Japan only. This highly sought-after album is a superb breezy mix of Japanese synth-pop with a subtle touch of mid-70s Herbie Hancock-style funk and AOR. Originally released in 1979, at a fruitful time when Hiroshi Sato, Haruomi Hosono, and Shigeru Suzuki were fresh from playing in the group Tin Pan Alley and Haruomi Hosono had just formed Yellow Magic Orchestra, Orient is a unique balance of various styles. It has become one of the most sought-after Japanese LPs on the global Balearic scene and is now exchanging hands for astronomical prices. The album includes such cult tracks as “Son Go Kuw” and “Do-Jo” popular on the international DJ scene. It features the best Japanese musicians at the time, including Shigeru Suzuki on guitar, Haruomi Hosono on bass, Pecker on percussion, and Sato himself on keyboards and synthesizers. The album also features on Gilles Peterson’s “Significant Album” List. Fully remastered from the original Kitty Records tapes by Universal Japan. Includes original four-page color insert, including English translations of the original liner notes by leading Japanese journalist Yasufumi Amatatsu, plus the full track-by-track musician line up.
Double LP version. Gatefold sleeve. “Deep, diverse, and unheralded, the Philadelphia ambient electronic music scene of the 1980s is explored with The Nightcrawlers’ The Biophonic Boombox Recordings, an expansive archival collection documenting the hard-knuckled kosmische synthesizer trio’s home recordings self-released and distributed over 35 cassettes between 1980 and 1991. Featuring the farthest reaching spacescapes of those cassette releases — improvised straight into the mic of a JVC Biphonic Boombox — none of these performances have been released beyond the original format, and essentially went out of print when Nightcrawler Peter D. Gulch got tired of dubbing them to blank tapes to mail-order through his Synkronos label and sell at live shows. Restored and recalibrated from the original cassettes, The Nightcrawlers’ music has never sounded better or so readily accessible.”
Souffle Continu Records present a reissue of Heldon’s Heldon . 6 . Interface, originally released in 1977. The idea in the mind of Richard Pinhas, the driving force behind Heldon, was to produce music “as cold as a huge block of ice” a vertiginous experience, of course influenced by the King Crimson trilogy, from Larks’ Tongues In Aspic (1973) to Red (1974), except that Heldon represents an electrified version, leading to a perfect rapport between thought and emotion, perhaps going even further. It’s Only Rock’n’Roll (1975), the appropriately-named third album, is in its own way — already — a turning point in Heldon’s oeuvre, witness the acid and corrosive “Zind Destruction (Bouillie Blues)”. Once the next one was released (Agneta Nilsson, 1976), just after Disjuncta, the first French independent label, had been sold to Urus by Richard Pinhas in order to buy the aforementioned Moog 3 from the Beatles, the music became even more uncompromising. The group delved, like King Crimson, into a kind of trilogy, the middle of which was Interface in 1977, a year after Un Rêve Sans Conséquence Spéciale (FFL 034LP) which was, thus, the first part. At this period the group’s music, as Gérard N’Guyen wrote in the fanzine Atem, was like “a guided tour through the ruins of a civilisation.” In the middle of the punk wave, the universe of Heldon indeed became more threatening and heavy, echoing the novel by Norman Spinrad from which the group took their name, The Iron Dream (1972). This was also the point at which Heldon became a genuine group, centered around Patrick Gauthier (synthesizers), Didier Batard (bass), and François Auger (drums), which allowed Richard Pinhas to focus on the real motivation behind this audacious undertaking. Like its predecessor Un Rêve Sans Conséquence Spéciale, and then 1979’s Stand By (FFL 036LP) which followed, Interface, the second album of the “trilogy” recorded at studios Davout, represents a sonic culmination, even a climax, its violence coming from the machines and delving into notions of repetition and scansion, prefiguring a lot of the music that was to follow, whether it be electro and industrial or post-rock and noise. It goes without saying: seminal and always innovative!
Souffle Continu Records present a reissue of Heldon’s Stand By, originally released in 1979. Richard Pinhas began by absorbing Jimi Hendrix as an adolescent, leaving that behind at the beginning of the 1970s, after having heard what Miles Davis and Herbie Hancock were doing with synthesizers, and then discovering the seminal duo Fripp and Eno. It was one year on from this epiphany that the first album by Heldon was released (1974). The main idea was to rock and roll on electronic machines. Richard Pinhas was of course playing electric guitar, but was also interested in the A.R.P. and VCS 3, to the point of purchasing the Moog 3 owned by the Beatles. In order to do so, he had to sell of the Disjuncta label — the first totally independent French label — he had created in order to release Schizo (1972), Alain Renaud and Heldon. This was the beginning of the 1970s. Heldon had already released four key albums and left their home studio for Davout, beginning a trilogy starting with the sound of 1976’s Un Rêve Sans Conséquence Spéciale (FFL 034LP), continuing with 1977’s Interface (FFL 035LP), and concluding with Stand By. When Stand By was released, the press had already labeled Heldon as the first electric punk group. There is nothing silly in that, Heldon having quickly moved away from the spacey German influences which were not to Richard Pinhas’s taste. This can be heard on Stand By, the lynchpin of which is the twenty minutes of sound and fury of “Boléro”, something of a high-point from the group which owes much to the sequencers of the “technician” Didier Badez. As on the two previous releases, the ever-faithful Patrick Gauthier, François Auger, and Didier Batard were present. For one track, Klaus Blasquiz sings and highlights the underlying links between Heldon, Magma, and Weidorje, but also a shared past experience in Blues Convention with Richard Pinhas. After two solo albums, East West (1980) and L’Éthique (1982), Richard Pinhas dropped everything, through fear of repeating himself, even selling off some of his equipment, before coming back to center-stage with DWW (1992), following a sabbatical decade centered on philosophy, skiing, and paragliding. Thus, Stand By can be seen as the end of an era for Heldon.
BACK IN STOCK – 2018 limited repress. Shinichi Atobe has managed to stay off the grid since he made an appearance on Basic Channel’s Chain Reaction imprint back in 2001. He delivered the second-to-last 12″ on the label and then disappeared without a trace, leaving behind a solitary record that’s been selling for crazy money and a trail of speculation that has led some people to wonder whether the project was in fact the work of someone on the Basic Channel payroll. That killer Chain Reaction 12″ has also been a longtime favorite of Demdike Stare, who have been trying to follow the trail and make contact with Atobe for some time, whoever he turned out to be. A lead from the Basic Channel office turned up an address in Japan and — unbelievably — an album full of archival and new material. Demdike painstakingly assembled and compiled the material for this debut album. And what a weird and brilliant album it is — deploying a slow-churn opener that sounds like a syrupy Actress track, before working through a brilliantly sharp and tactile nine-minute piano house roller that sounds like DJ Sprinkles, then diving headlong into a heady, Vainqueur-inspired drone-world. It’s a confounding album, full of odd little signatures that give the whole thing a timeless feeling completely detached from the zeitgeist, like a sound bubble from another era. This is only the second album release on Demdike Stare’s DDS imprint, following the release of Nate Young’s Regression Vol. 3 (Other Days) in 2013. Who knows what they might turn up next? Mastered by Matt Colton at Alchemy.
Panthera Krause is in full effect with his new EP for Uncanny Valley. The successor to his highly acclaimed Umami EP is not only rich in giving the dancers material to freak out on the floor. Beyond that, All My Circuits Part I is a perfect showcase for the Leipzig based producer’s wealth of variety.
Glasgow based 12th Isle present some experimental cinema sonics by Vladimir Karpov. Electroacoustic research practice and shadowy wind instruments come together to form this unique interpretation of the mythical city of gold. Utilising rare, half forgotten Soviet era synthesisers, Karpov creates immersive soundscapes under the name XYR. The Formanta mini keytar and the Alisa 1377 lend Karpov’s music strange, seldom heard atmospheres which the St. Petersburg native then combines with field recordings, toy percussion and wood flute to further build upon his utopian narratives. Part concept album, part nod to Popol Vuh, his attempt to channel the thematics of the ancient tale of the Muisca people through his modest home studio.
The big man on campus returns! Fast becoming a staple on Dixon Avenue Basement Jams, the Glaswegian producer throws down an impressive full length demonstrating the diversity within his musical repertoire – and count us in as fans. From the deep and soulful late night house of “Our House” which will have you ‘doin’ the wiggly worm’, Afrobeat meets Innervisions styled melodic house on “Hammond Groove” while “High Heavens” explores classic neon-lit electro aesthetics from the ’80s. There’s even some harder stuff in there, like demonstrated on “The Great Beast” that’s a slow burning early ’90s style techno jam (which blows the bloody doors off!) and “Gear Tension” which throws in more hallmarks of the golden era such as 303 acid and Joey Beltram styled mentasms.
Cocktail D’Amore showed the breadth of their tastes when they reissued Ukranian composer Iury Lech’s 1990 album Musica Para El Fin De Los Cantos last year. Now the label has commissioned a raft of remixes from some label regulars, with wonderful and diverse results. Powder drops her signature snaking rhythmic trysts over “Barreras”, while “Cuando Rocio Dispara Sus Flechas” benefits from an abstract, ambient reworking from Suzanne Kraft. Hatchback takes to “Posmeridiano” with a delicate touch, all lingering 80s synth motifs in a beatless reverie, and Zavoloka lays the cinematic intensity on heavy with the icy strains of “Ukraina”.
This is the first we’ve heard from Theory of Movement, a new collaborative project from established deep house producers Grant (famous for fine releases on Mork and the Lauren Bacall) and Dan Piu (Moto Music, Temporary State). Suffice to say, we’re quietly impressed. Their musical melting pot includes grooves and sounds that owe a debt to Larry Heard, early Italian dream house, Dream 2 Science, St Germain, Gemini, the Burrell Brothers and Ron Trent, yet none of the 12 tracks particularly sound like any of them. Sure, it’s a retro-futurist sound – as much a result of their old analogue gear as the vintage influences at play – but one that results in a string of memorable moments across this fine debut album.
Trudge embarks on the tenth expedition into the exotic lands of palm trees and blue skies with the infectiously moody ‘Negative Spaces’ EP. Expedition ten features four jams packed of broken drum sequences, dreamy pads and scorching acid basslines.
“Very happy to have Henry Wu and Earl Jeffers debuting on MCDE Recordings this fall with their double Sider “Projections/Hi-Life”. Both Pablo Valentino and myself have been fans of their work, be it Henry and Earls solo stuff or the highly adventurous Yussef Kamaal project which Henry introduced 2 years ago. These guys take the London sound to a whole new level and we are very proud to have them doing their thing on our label.”
Buchla synth supremo Todd Barton’s hyperstitious soundtrack to Always Coming Home, an ‘80s American sci-fi novel by author Ursula K. Le Guin, is yet another ingenious recording dug out for reappraisal by Pete Swanson and Jed Middleman’s Freedom to Spend label – a division of RVNG Intl. Expect alien folk songs in made-up language, set to richly evocative backdrops of location recordings subtly gilded with self built instruments and synth contours. Properly immersive, otherworldly – think Breadwoman meets Lonnie Holley recording for Fonal.
Carl Finlow is one of the great unsung heroes of British electronic music, with a raft of aliases and projects that burst with inventive production, warmth and a sense of fun that so much slickly produced techno and electro misses. For Those That Knoe are doing the right thing in gathering together some choice cuts from over the years – the Voice Stealer jams in particular stand out with their miscreant tones and overall uneasy atmosphere tapping into the malaise of the darker Drexciya-related output. There are all shades of electro to be enjoyed on here though, and hopefully it’ll place Finlow on the radar for a few more heads.
The new album Radical Connector includes nine new tracks which took Jan and Andi three years to write and produce in their famous St. Martin studio in Düsseldorf. Long-time musical collaborator Dodo Nkishi was part of the recording team once again, and the album fe atures both his drumming and his strangely recorded vocals most prominently in the aptly named “Wipe This Sound”. Never has Mouse On Mars written a more danceable track with such irresistible drive. Expect to see dance floors from Tokyo to Santiago de Chile full to overflowing. Sonig recording artist Niobe also participated in the recording her wonderfully aloof vocals (“the end is near…”) adorn two tracks.
With Radical Connector Mouse On Mars is taking an important step forward both in terms of musical vision and international standing. Their Touring will focus for the first time on North America. Making appearances not only with Drummer Dodo, but as both a duo and as DJ’s. When you show up remember to bring your dance shoes and your thinking cap! If in 1994 Mouse On Mars sounded like 2004, then Radical Connector is a portent of what the year 2014 will bring. Enjoy!
DsorDNE (pronounced Disordine) is a project from Torino, Italy that evolved as group out of the electronic experimental post punk project Novostj in 1987. At the core of DsorDNE is Marco Milanesio, musical engineer and co-founder of the HAX record label, joined by a revolving cast of musicians. Their spectrum ranged from experimental to structured electro-poetry and Soundtrack like instrumental electronic music. In 1987 they released their first track on a split-single with The Legendary Pink Dots. Between 1987 and 1994 they released 6 full length albums, 3 split-EPs and appeared on various cassette compilations.
È Un Sole (It’s a Sun) was the group’s only vinyl full length originally released in 1990 on HAX. It’s 8 tracks of electro-beat poetry and experimentation recorded between July 1989 and January 1990 by Marco Milanesio (music) and Roberta Ongaro (vocals) with guests Claudio Burdese (guitar), Danilo Beltrame (guitar) and Cristiana Bauducco (vocals). The album is broken up into two distinct halves. Side A contains four chunks of hard hitting, percussive patterns and rushing bass sequences. Dark, moody female vocals force their monologues through the machinery in their native Italian tongue. The traditional song structure is carefully avoided by giving lyrics equal opportunities be they recited, half-sung, whispered or spoken. Side B displays moodier moments, less savage attacks and subtler sensuality, veering towards the more melodic and existential. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original jacket featuring a black and white drawing with silver metallic spot color housed in a clear PVC plastic cover with a three color screen-printed design. Each copy includes a 11×11” double-sided lyrics sheet with English translations as well an 8×11” sheet with original press notes from 1990 by Marco Pustianaz.
The widely-adored post-Stereolab unit of Tim Gane, Joe Dilworth and their pal Holger Zapf take their krautrock/psych buggy for another long player jag
Following from recent reissue of their debut LP Blood Drums and a new album, Void Beats/Invocation Trex, both released in 2016, on Hormone Lemonade they refuel the tank with gallons of liquid LSD and, presumably decked in best rollnecks and comfy cords for a highly stylised and charmingly archaic trip back to ‘70s psych vibes.
2018 marks twenty years since the release of the album that spawned era-defining singles “Rockafeller Skank,” “Gangster Trippin,” ‘Praise You” and “Right Here Right Now.” You’ve Come a Long Way Baby reached Number One in the UK album album charts, breaking the US Billboard Top 40, creating a global superstar and putting a new wave of UK dance music on the global map.
First released in 1998, You’ve Come a Long Way Baby become one of the defining records of the ‘90s, irrespective of genre. Swinging from hip-hop, to reggae and jangle pop, with You’ve Come a Long Way Baby, Norman Cook broke stylistic ground and delivered a wildly original album, filled with imagination, huge hooks and even bigger beats.