Multicast Dynamics returns with a sixth studio album that marks something of a new chapter. Ancient Circuits is an advancement from previous works on Denovali and one that stands the project aside as a powerful electronic act that tells stories while also serving up heavy hitting soundscapes that are persuasive, unexpected and disturbing. Each of the four 25-minute pieces of Ancient Circuits are clearly demarcated yet sequential sci-fi stories that introduce new characters and are drawn out of long and complex studio experiments. They are collages of sound that glimmer, disturb, shine, dive deep and explore new realms and make for ambient so arresting that it pulls you deep inside. Once again here, Multicast Dynamics draws together cinematic sound design and conceptual intergalactic fiction to come up with a work that is a multi-sensory exploration that puts you as the central character in an expressive musical world
On his debut mini-album, Pellegrino goes for a periplus around mediterranean savors, dispensing a multi-flavored cocktail of fast-moving disco groovers, spacey jazz-fusion experiments and sun-bleached funky melters
Antinote and Dizonord present STUDIOLO – Belfiore, Veneto, 1447. Birth of the first “Studiolo” or cabinet of curiosities, these rooms where “rare, new, and singular things”, often exotic, were stored and exhibited. A practice that would spread throughout Europe during the Renaissance.
Northeastern Italy, at the beginning of the 1980s, an entire local scene gathered around a handful of DJs who put their dancefloors in a trance to the sounds of “rare, new, and singular” music, under the strong influence of ethnic and world music. Mixes where German Kosmische clashes with space disco, along with the most experimental side of British new wave, industrial music, creepy funk, deviant rock and pop. All this mixed with Brazilian and Afro music, reggae, ragga, percussions and bhangra… A kind of mixing in total rupture with that of a dying disco for which it is intended as an alternative. A way of playing songs often at the wrong speeds, at 33RPM instead of 45RPM and vice versa, and always the obsession of a slow tempo, between 95 and 110 BPM, while the cruising speed of disco mixes goes up to 125/130 BPM… A haunting rhythm, accelerated or slowed down voices, with experimental and ethnic approaches… the sets by Moz-Art, Ebreo, Roberto Lodola, TBC, Meo, Fabrizio Fattori… are endowed with a baroque, quasi)mystical dimension. Without forgetting the enemy brothers, at the origin of this fusion of styles, Daniele Baldelli, resident of the Cosmic Club in Rimini, who called it Cosmic Style, and Beppe Loda, resident of the Typhoon in Gambara (a small town not far from Belfiore, unsurprisingly) and who referred to his mixing as “Afro Style”. “Afro”, the name that will be adopted by this scene and especially by its fans, recognizable by their post-hippy style, their Citroën DS or 2CV, with car radios fully powered by mixtape cassettes recorded in the clubs by these DJs, then sold in the parking lot of what was still called “the discotheque” at that time. This “Afro” wave mainly involved 3 regions in Italy (Lombardy, Emilia Romagna, and Veneto) and the young Austrians and Germans who would go there on holiday. Among them, Stefan Egger, a young DJ from Innsbruck, received a monumental shock while listening to a set by Daniele Baldelli during his holidays in Rimini. Therefore, he decided to make his Austrian dancefloor resonate to the sound of the Cosmic Style.
While the official history of underground dance music has very quickly and rightly retained the contribution of DJs from Chicago and New York, it was not until the early 2000s that interest in the Afro/Cosmic scene was finally shown. Since then, a lot has been said on this scene, its DJs, their completely crazy and obscure tracklists, while Daniele Baldelli and Beppe Loda are playing Boiler Room sets as well as Europan and Japanese gigs one after the other. But few have shown interest in the moment in time when, at the end of the 80s, these DJs became producers and started creating songs that sounded like their sets, where all their influences would collide, often naively, sometimes with genius, always without filters. Nor to how this scene changed at the beginning of the 90s with a marginal approach to trance and progressive house, when the Italian, Austrian and German DJs of this second Afro period played these trance and progressive records at 33+8, as their elders did with synth wave or post-punk records, always staying within this 100/110 BPM tempo. It is in this last period that this compilation will immerse you, through 8 tracks from the Italian, German and Austrian scenes
Any botanist will extol the virtues of cross-pollination, and musical hybrids are a Growing Bin speciality. For the latest release Parisian outfit Maât splice jazz with Balearic, dub, house and Afro to create a free thinking LP dedicated to world fusion fore-runners Codona.
If Singu found calm amongst the chaos of Tokyo for ’Siku’ (GBR017), then Maât map out a Sunday stroll through the sun dappled streets of the Parisian banlieue on ’Solar Mantra’. Humming reeds converge into a pre-dawn chorus before dewy sequences and drifting syncopation signal sunrise over La Vilette, a perfect place to start ‘The Walk’. Skirting the Périphérique, the Parisian ensemble pick out a street percussionist by Boulevard d’Algérie then detour to Pré-Satint-Gervais to draw a bassline out of the Metro Area, adding an Environ cool to the uptempo ‘Jaki & Bryn’. With icy bells, brooding guitars and melancholic vocals, ‘Feuglace’ transports Miko’s garten to the 20th arrondissement while the polyrhythmic patter and micro-tuned guitars of ‘Solar Mantra’ see out the A-side with a fourth world hymn.
Chakras cleansed and ready for a B-side rebirth, Maât take us dancing through Père Lachaise via organic house bomb ‘Quetzal Pacino’, an emotive exploration of rhythmic mallets, dreamy pads and propulsive bass, which moves like the Innerzone Orchestra re-arranged by Jon Hassell. Rest comes with the soothing pianos and swelling sine waves of the pastoral ‘Clarière’, a hazy homage to the noon sun on a clearing. Circular motifs, limber grooves and dubby bass mean we’re on the move again, slipping into Montreuil with the echo-drenched scat and firm back beats of ‘Mount Beuvray’, before ‘Llomé Dub’ takes us home in time for a cool beer and much needed smoke on the balcony. Acoustic guitar, lilting piano and a gorgeous female vocal ride the punchy bass and clattering drums to perfection, keeping us company until the day fades into a contented haze.
Cinematic Vintage Synth and live drums project by Lance Ferguson (The Bamboos, Menagerie, Rare Groove Spectrum, Lanu). Turquoise coloured double LP incl. download card, limited to 300 copies worldwide.Imagine drummer Bernard Purdie playing with Ryuichi Sakamoto, or perhaps Clyde Stubblefield joining Cocteau Twins. An immersive album that recalls Boards Of Canada, Four Tet, Air, and Tycho
LP1 takes influence from cold wave, applying gloomy chords onto House and Breakbeat, whilst including textures that might draw reference to early IDM. Earth Trax blends dreamy vocals, pads and melodies with striking rhythms, squawking synthesizers and strong bass lines throughout. The LP was recorded as an extension of some of the artists moodier singles on Shall Not Fade sister imprint, Lost Palms. It explores a more experimental approach towards House music, whilst drawing influence from some of his more downtempo style releases as Bartosz Kruczyński. LP1 features the stunning photography of Kasia Zacharko & graphic design of Kaja Kukuła.
From their native St. Petersburg, Square Fauna evoke a score for imaginary protoplasmic oceans, surreal, sepia-tinged space operas and Russian sci-fi folk tales; lush, green landscapes littered with the burned out husks of automobiles, military vehicles, and askew telephone poles no longer in use though marked by pools of water in which can be found the debris of modern society.
Primitive kosmische electronics and vintage spacescapes cascade around complex polyrhythmic percussion. Ethereal mists of gaseous reverb are scattered by windswept synths and white-noise striations.
‘Meet The Fauna’ is as much of a cheeky nod to The Residents and Coil (or even Haroumi Hosono and John Hassell) as it is to the likes of B12, Black Dog, Richard H Kirk.
A completely singular, modern sci-fi soundtrack for the discerning sofanaut.
Following its 2019 launch with Peggy Gou’s ‘Moment’ EP and a follow up 12″ from DMX Krew, Gudu Records continues its journey with one of the true heroes of the underground, Maurice Fulton. Consisting of three diverse tracks, the ‘Earth’ EP captures a shared love of esoteric experiments in house, disco and funk, delivering a different flavour with each cut.
The EP opens with a collaboration between Fulton and label founder Peggy Gou: ‘Jigoo’ is the sound of both artists in full swing, combining a rolling, infectious bassline with the sort of joyous chords that have won Gou’s previous productions quite so much play. Vintage Chicago house drum work drives the track forward, while a series of psychedelic breakdowns combine to create another understated club anthem in waiting.
On the B side, ‘Not Sure How I Would’ may offer the perfect introduction for those yet to have fully immersed themselves in Fulton’s wonderful back catalogue. A chugging bassline, live drums and guitar plus a barrage of effects invite listeners into a hugely accomplished, utterly unpredictable dancefloor space, one primed to invite full-scale freakouts for heads-down crowds.
Finally, ‘One Itself’ provides the most understated moment on Gudu thus far. Slowly and surely bubbling, yet more raw percussion intertwines wildly with fizzy, analogue manipulations, Fulton engineers a veritable pressure-cooker of slo-mo rave euphoria that could once again leave a dancefloor spinning on its collective head.
“Filterealism” starts from the territories where Gamayun haven’t stepped before, from the music that only seems to be simple, but in fact it turns out to be very compound. Their recordings are not escapist in any sense of its meanings anymore; the whole album consists of divisions, explorations and adoptions through the personal and collective experience of music-making. The technical side of this sound acts likewise: you can hear a large amount of routine items (furniture, utensils and deformed recordings of the nature) among “conventional” electronic gadgets and live instruments.
“Filterealism” sounds just like some Soviet electronic music pioneer, which had shifted his focal grip from the modulations and synthesizers to all the simple things of surrounding and completed the piece with profounder shot of weirdness and commonplace wondering. And it literally works like a wonder.
Off the back of their debut LP, Sleep D continue to thrive and refine their production skills, this time with the 10th EP on Planet Euphorique, “Smoke Haze”w. 2020 – the future is now, the 4 tracks each offer a glimpse into a distant yet looming world of dark, driving atmospherics; outer worldly electronics perfect for club use. Sticking true to their deep, cosmic constructions, the Australian duo feel to have fully come into their sound, ever progressive and evocative, whilst never forgetting the filth, jack and grit that drives us to move.
A1 “Freezer”, wastes no time, diving in with militant metallic flair, elevated above ground through the syncopated stabs and swirling synthesis. Continuing to build throughout the track with delicate, imperative percussion and rolling delays, bubbling analog voices slipping in and out of consciousness to contrast the 4/4 steadiness. “Green Pond”, the A2 takes off from the opener, bringing a naughty tech-house energy, making it impossible to stand still as the sleazy bass locks in with the drums. Winding high-end technicality balances the playful lows, muffled vocal hooks and decaying leads evoking a sense of hedonism, snapped back to reality by the fierce snare programming.
On the B side “King Tide” teases a slightly lighter mood, with energized melody and floating bounce. Utilizing familiar tones and percussion, whilst experimenting with filters and resonance to take you on a sonic exploration. A state of hypnosis, occasionally interrupted by subtle unexpected contrast, those special desired moments on a dance floor. “Bugger”, the final track on the record, presents a skin crawling anthem destined for the darkest of corners, murked shadows engaging in a heavy stomp. Bass focused, blurring genres, total sludge with a whiplash – commanding your attention.
Each track brings its own unique mastery and mature sound design, built upon a trusted foundation of rolling elation. As the Melbourne X Planet Euphorique partnership continues to develop, the pairing feels particularly ideal, linking in harmony to deliver an innovative, polished record primed to cause havoc.
Stellar full-length album selection of archival material from Tim Jackiw ranging from timeless late night techno and deep space soundtracks through to electronic jazz and ambient atmospheres. All music sequenced and recorded in Tim’s Adelaide-based bedroom studio between 1995 to 1997 using an Amiga 500 interfaced to various analog synthesizers, drum machines and samplers. Limited colour vinyl double pack – big tip!
It is a cliché to describe music as a trip or an ocean or whatever, so this album, Tecwaa’s album “Beyond the Altai” released on Höga Nord Rekords, will in part be described as a snowman: the snowman has its characteristic familiar shape. He is cold yet there is something warm and cuddly about him, something that makes you feel happy and safe.
The A side on the album goes from that warm/cold cosy feeling but elements of destruction like melodies in minor keys slowly transforms the album to become only cold and not so cosy – the snow turns grey and the snowman’s smiling mouth becomes a twisted grin. Its contours disappears and the shape dissolves as the snow melts and floats out on the ground beneath its body. As the album develops, the sound gets harder and darker and the York based DJ moves closer to his roots in electro and Roland-machine knob-turning.
In some ways, “Beyond the Altai” is a call from the eighties and nineties dancefloors like in the tracks “Back To The Atomic Ether” and “10 Swords” on the B-side but all melts together in Tecwaa’s music to create his own obstinate and loose sound!
Alterazione presents a critical statement – distinguished by its technical execution and breathtaking artistry. The album itself is a cathedral of sound, each cavernous chamber an exploration of space and consciousness. Presented in four movements (one track per side), altogether they extend as a transportive experience of evolution for the listener.
Iniziazione – a steady departure that unfurls like the opening of a portal; a process of molecular transfiguration commences. Panoramic landscapes begin to stretch wide, glistening with an exotic beauty, before the shamanic incantations of Rituale draws things deeper. Pulsating rotations push through the next phase of transformation, now drenched in hyperspace white-noise. The procedure continues through the quiet ethereal orbit of Metamorfosi, before finishing with the three-part Evocazione/Contatto/Risveglio; uplifting synth motifs drive forward with optimism, before fading back into the great expanse.
Alterazione is both cerebral and meditative, and one cannot help but be pulled at the core by its potency.
After a digital single on Optimo Music Digital Danceforce, Optimo Music welcomes Bergsonist to the main label with a full album. Ridiculously talented and prolific, Bergsonist is one of thee most interesting, thoughtful and important artists of our times.
Bergsonist aka Selwa Abd is a New York–based artist and musician originally from Morocco.
She is the founder of Bizaarbazaar, a music platform and publication that publishes podcasts and interviews by DJs and producers from around the world. Under the guise Bergsonist (derived from Deleuze’s Bergsonism), she uses a variety of media to investigate social resonance through divergent conceptual aesthetics (minimalism, techno, and music concrete, to name a few). Through her work, she explores notions of identity, memory, and social politics.
In 2017, she started Pick Up The Flow, a resource to promote congregation and exchange between peers. Currently, co-run with Stephen Decker.
In 2019, she co-founded 3afak with DJ Sanna, a collective that aims to empower Arab women’s creative vision in New York.
enderlonious returns with a brand new 4 track EP, seamlessly cooking up a blend of hybrid house and broken beat with his unique analogue productions and signature flute instrumentation.
The title track ’After The Storm’ picks up where 2019 album ’Hard Rain’ left off (Bandcamp’s electronic albums of 2019) – a stormy, atmospheric 4/4 groove, with flute flurries, build the track to a state of euphoria.
The EP continues with G Flex, a tune dedicated to Tender’s mentor Sterling Styles, aka Equinox (Scientific Wax). Broken drum machine loops are brought to life by classic Tender flute and synth solos. Fans of his 2016 ’On Flute’ EP will be feeling this one!
’D Low’ is the 22a squad pick on this cut. Deep house vibes, with a classic London soundsystem style hook, shaking bass lines and twisted synths.
’Broken Heart’s Club’ rounds things up, and may sound familiar to 22a heads. Beefy broken drum machines take centre stage, making way for some more synth magic from Tender’s vast array of hardware. First time on vinyl for a track that’s been doing the rounds for a couple of years!
Eglo Records are proud to present Fatima’s highly anticipated debut album ‘Yellow Memories’.
Featuring production work from the likes of Floating Points, Theo Parrish, Oh No, Scoop DeVille, Computer Jay, Knxwledge and more… the velvet toned Swede has truly crafted something special.
Offering a modern take on classic Soul and RnB, the album strikes a beautiful balance of cutting edge, contemporary production, soulful expression, melancholic introspection and vibrant, candy coated melody. An accomplished singer /song-writer with a stunning range, her prowess and versatility are a force not to be reckoned with. As powerful and mesmerising on stage as she is in the studio, Fatima possesses a talent heard all to rarely in todays musical climate.
Two singles have so far been released from the album, including the Flako the produced double A-Side ‘Family’ and ‘La Neta’, the video’s for which can be found HERE and HERE Upfront tracks from the album are already in heavy rotation amongst musical luminaries such as BBC Radio 1’s Benji B, 6Music’s Gilles Peterson and Mary Anne Hobbs as well as wide spread support from contemporary broadcast institutions like Rinse FM and NTS. Resident Advisor recently featured Fatima on their front page having recorded a deeply emotive live performance of the album track ‘Gave Me My Name’ – which can be seen HERE.
Born of Swedish and Senegalese parentage, Fatima moved to London in her early twenties. It was here that she met Eglo Records label bosses Alex Nut and Floating Points. After several chance encounters a relationship blossomed leading to the creation of several now classic releases including ‘Mind’, ‘Redlight’ and ‘Innervision’ as well as her Award winning performances fronting the Floating Points Ensemble. Other collaborations include Dam Funk, Shafiq Husayn (SA-RA) and Scratcha DVA on Hyperdub. Currently residing in New York Fatima will be returning to the UK/EU mid April for a string of live dates and launch parties through out May accompanied by the Eglo Live Band. Her live shows are not to be missed!
MW007, ‘Furi’, is a collection of tracks from two Berlin-based friends / artists Exael and Arad Acid. The material highlights the commonalities between their individual and collaborative works, moving from boundless and chaotic energy to soft kinetic radiance over the course of seven tracks.
Berlin based composer and producer Ben Lukas Boysen returns with his most progressive and shape-shifting work to date, the long awaited Mirage, on 1 May 2020 with Erased Tapes. The third album to be penned under his own name proceeding his Hecq moniker, Mirage follows 2013’s Gravity and the acclaimed 2016 full length Spells, a record as much admired by his peers as it was loved by fans that not only yielded remixes from Max Cooper and Tim Hecker, but also opened Jon Hopkins’ Late Night Tales compilation.
Since the release of Spells, Ben continued to be in demand for his scoring abilities, collaborating with cellist and composer Sebastian Plano on the music for David OReilly’s landmark innovative video game Everything. It was added to the long list for the Best Animated Short at the 90th Academy Awards, making it the first video game to qualify for an Oscar. In 2019 Ben contributed to the Brainwaves project alongside fellow Erased Tapes artists Michael Price and Högni Egilsson in collaboration with a team of scientists at Goldsmiths University, London — linking states of consciousness and music. He also scored the soundtrack to the DAFF award-winning German TV show Beat, the feature film The Collini Case, and co-composed the music for the short film Manifesto with Nils Frahm, starring Cate Blanchett.
As with Gravity and Spells, Ben has an array of musical guests adorning Mirage, including long time collaborator, Berlin based cellist and composer Anne Müller as well as Australian saxophonist and composer Daniel Thorne — for whom Ben wrote parts specifically, having heard his 2019 solo debut Lines of Sight. Lead track Medela features both and takes the listener on a kaleidoscopic journey that slides with ease across sonic terrains. By the end it’s difficult to tell what exactly was heard; “I wanted to experiment with blending these recordings with 100% artificial elements, often to points where an instrument becomes an abstraction of what it was and the musicians’ presence in the song is much more of an important DNA string in the song rather than an obvious layer.”
Mirage, like its title suggests, feels like a sonic optical illusion — each piece containing sounds and techniques bent and processed to make them seem overexposed; the overly felt-y piano on Clarion, Daniel Thorne’s saxophone on Medela, the single note voice of Lisa Morgenstern splitting into different chords on Empyrean. It is detectable but also easily missed, like the double piano on Kenotaph that could be perceived as one, but is actually two pianos in two different rooms, separate countries even — one is digital while the other is acoustic.
While on Spells Ben made programmed pieces sound indistinguishable from human playing, with Mirage he set out to do the opposite and make the human touch unrecognisable, creating something of a mystery or a mirage.
“A lot of the elements and instruments you hear on the album are either not what you think they are, or exactly what you think they are but behave differently or they’re elements you definitely know but they are hidden, processed, or morphed into something else. With Spells and Gravity I was trying to hide the machines. On Mirage, I’m trying to hide the human”