Monday, May 18, 2015
Palmbomen II - Palmbomen II (Beats In Space Records / RVNG Intl.) Kai Hugo aka Palmbomen II drops one of the most distinctive entries to the proto and lop-sided slo-house discourse with this suite of sidelong, sidereal chuggers. RIYL High Wolf, Danielle Baldelli, Beautiful Swimmers… "Guided by voices hardwired into machines of dance productions past, Kai Hugo redirects the collaborative context of his Palmbomen project and escapes within to create the self-titled debut of Palmbomen II. Possesses the qualities of an artist slipping from one reality to the next, yet welcomes listeners to experience this transcendence in tandem." in boomkat
Saturday, May 16, 2015
Luka Lozano & Mr Ho - Dripbox EP
Klasse Recordings label heads Luca Lozano and Mr Ho hook up here with a new EP on Creme Organization. They turn out one solo track each and two collaborative efforts and explore the sort of jacking, mystical house sounds you would expect from this established Dutch label.
First up, 'Dripbox' - crafted by both producers - is raw and tough, with lots of analogue atmosphere, tripped out synths and muffled vocals. 'Bear Samurai' is then a solo effort from Mr Ho that marries droning sirens with gallivanting, lumpy drums and hiccuping percussive patterns. It's sythentica and metallic, reflective and shiny before the pair hook up again for 'Hot Trak', which is a more serene and bubbly deep house cut. The claps chatter, the cow bells get lively and the drums are super corrugated. Finally, Lozano gets even more raw and prickly, kinetic and textural with his closer 'Autonomika', which also comes complete with sci-fi melodies and a thick, dirty bassline that will destroy dance floors.
Tuesday, May 12, 2015
Thursday, May 07, 2015
Prurient - Frozen Niagara Falls
Prurient - Frozen Niagara Falls ( Profound Lore) Comentários: ‘Frozen Niagara Falls’ is his defining, most exploratory and ultimately rewarding work to date. It’s an epic undertaking too - spanning two discs (the vinyl edition which will follow next month is a mammoth 3LP) and includes over an hour and a half of music, veering from the surprisingly contemplative destroyed-folk of ‘Greenpoint’ and 'Christ Among The Broken Glass’, to painfully blissful, Vangelis-esque night-scapes ('Jester In Agony’), to decimated noise ('A Sorrow With A Braid’, 'Falling Mask’) - and many many points in between. Narrated by Fernow’s own highly-presonalised vocals (arcing from indecipherable screech to startling, almost translucent spoken word), by the end of its 90+ minutes you feel worn out, exhilarated, withdrawn, pummelled and ultimately comforted by the sheer scope and ambition on display. It’s an album that finds Fernow as far removed from an artist resting on their laurels as you could imagine - there are no cheap thrills on offer, nor is the narrative designed to startle. In many ways, it encapsulates the all-too-often suppressed urges of young producers to just go wherever the mood, ideas and technology will allow without compromise - yet bolstered by the experience (musical, and otherwise) of someone who has been at it long enough for us to expect them to have long stopped trying. 2011’s excellent ‘Bermuda Drain’ was a bit of a game-changer for Fernow - embracing more overtly composed, structured electronic signatures with lyrical content and delivery that were at the polar opposite. Further - the Vatican Shadow releases that surfaced around the same time for labels such as Blackest Ever Black, Modern Love, Type and Fernow's own Hospital Productions brought him into the sightline of an audience that was largely made up of people who had never heard a noise record in their life. This slow-easing into Fernow’s unique, conflicted dystopia has laid the ground well for ‘Frozen Niagara Falls’ - an album that will most likely be listened to by a far broader demographic than any in Fernow’s career so far. There is an assured, obsessive, hungry quality to this material that is certain to elicit an obsessive following from both Fernow's long-standing noise worshippers and his more recent, electronically-minded converts - and yet it never feels overly knowing or contrived. On tracks such as ‘Cocaine Daughter’ this confluence is perfectly realised; drawing us in with spacious, warm pads riding alongside a doubled-up and grotesque narrative. It’s majestically beautiful and yet somehow desperately sad. Like the rest of the album, it feels genuinely without compromise - something that on its own would have been enough to have us singing its praises endlessly. As it is, it also happens to be one of the most engrossing and complex albums in recent memory - regardless of genre - so whether you’ve heard any Prurient albums before or not, we urge you to give it some of your time. in boomkat