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Tuesday, April 26, 2016

Editor's Picks - Modern Music

AYN SØF - AYN SØF (Tombed Vision) Gnod’s Paddy Shine burps an intently-focussed album vacillating Phurpa-like throat music with airy cosmic ambience and folk drones in the 1st part, and segueing from languid raga-blues back to stereo-panned vocal meditations and calving cosmic noise in the 2nd part.
Chris Marker - La Jetee (Superior Viaduct) 1st ever pressing of Trevor Duncan’s enveloping OST, overlaid with French and English narrations, for Chris Marker’s award-winning sci-fi short, La Jetée (1962) - a main inspiration behind the classic ‘90s sci-fi, 12 Monkeys. Completely unmissable!!!
Gunnar Haslam - Lebesgue Measures (L.I.E.S) Gunnar Haslam mostly steers wide of standard 4/4 on a 3rd album of imaginative atmospheres and pointillist drum programming, entitled Lebesque Measures.
Konono N°1 - Konono N°1 meets Batida (Crammed Discs) Kinshasa, DRC’s Konono Nº1 fuse with Portugal’s Batida ensemble for a compelling, hybrid follow-up to Assume Crash Position (2010), but sadly, without their founder, Mingiedi Mawangu who died in 2015, aged 85. RIP.
Golden Teacher - First 3 EPs (Golden Teacher) Everyone’s favourite, funked-up weegies collate prime cuts from their trio of acclaimed early EPs for Optimo Music in one highly satisfying, party-stoking album - the only way you’ll own many of these on wax without forking out for 2nd hand original 12”s! A timeless, anachronistic synthesis of no wave punk funk, disco-no-disco and dubbed out tribalism, Golden Teacher distill the best traits of Liquid Liquid, Fela Kuti, Lee Perry and Arthur Russell to fulfill the exacting demands of Glasgow’s legendary party scene. Off their Bells From The Deep End debut, you’ll catch the infectious no wave disco jig Rashomon and the clipped boogie strut of Love Rocket rubbing up against aces from Do Not Go Gentle Into That Good Night such as the subbass-fuelled skank of Like A Hawk or the astral trajectories of Dringhouses, whilst the Party People / Love 12” provides big highlights in the Patrick Cowley-esque disco plumage of Love and the rolling, synth-fuelled breaks of Party People. Strongly recommended!
Kane Ikin - Modern Pressure (Type Recordings) With the unheimlich, anxious spaces of Modern Pressure, Melbourne’s Kane Ikin navigates a nightmarish variant of electronic music to provide Type with a cold, clammy come-down from the hardcore spills of Basic Rhythm’s Raw Trax. This imposed restraint has pared the artist’s aesthetic to a more vital, impending sound: rendering a world of glancing shadows and efficient, amorphous rhythms from an ever-decreasing sonic palette; pushing himself farther into an escapist’s abyss, but using streaks of electro-acoustic light, elusive field recordings and redemptive chord structures to keep us from falling off the rope. They’re not club tracks, but the sense of momentum is gripping...If you’re into ASC, Monolake, Raime, Pye Corner Audio or even 0PN, this one’s well worth checking out. 

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Wednesday, April 20, 2016

Copeland & Gast - UKMerge (All Bone)

 Release date: 22 April 2016 Blunt's former Hype Williams cohort, Inga Copeland and John T. Gast also have new material on the way. They'll drop a two-tracker on All Bone, the follow-up to their 2013 collaborative 12-inch UKMerge / Strict. 

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RAIME - Tooth (Blackest Ever Black)

RAIME - Tooth (Blackest Ever Black) At bleeding’ last, Raime commit their 2nd album to Blackest Ever Black, and it’s every year worth the wait. Release date: 10 June 2016
Tooth is the result of a fastidious refinement process, chipping away any extraneous elements in order to drill right down to a personalised, uncompromising truth: respectfully consolidating a hive of reference points - the finest filaments of grime, jungle, gothic film soundtracks, and rocking industrial sci-fi - but always with a deeply unique style and pattern. Hewn from a trad set-up of hacking guitar, samples, and heavily processed drums (from source by Valetina Magaletti, who also played on Quarter Turns…), all helmed by asphyxiating bass pressure, the results were subsequently rinsed in post-production to an inch of their lives. The result is a future-proofed and achingly taut sound; one that acknowledges any flaws in their previous efforts and ascetically twists the screws to a water-tight, rasping, tongue-in-groove finish. Its eight unyielding tracks render filigree variations on that central theme, each focussed on a subtle yet keenly twisted sleight of syncopation from the opening Om-meets-Mala meditation of Coax to the rictus chatter and gasping stabs of Stammer at the final run out. The effect is wickedly jarring yet hypnotic, sustaining a vicious, duelling tension between fight or flight between those points; lulling us in with Sun City Girls-like mantra and Jah Shaka-style sub massage in Dead Heat’s arabesque whorl, before ratcheting the tension with a slow, tendon-twitching panic like Albini-meets-Source Direct in Hold Your Line, to lend a sense of temporary resolution with the glinting pads of Front Running. With Glassed they plumb the sweetspot between Rhythm & Sound, Senking and earliest Swans, but to be honest it all feels like it was leading up to the denouement of Cold Cain, arguably their master opus, parsing the gothic shiver of The Cure ('81 vintage) thru the gullet of ‘05 grime, buoyed off by thee sickest subs to effectively bury this sound beyond the reaches any comers. We can nary think of another contemporary band whose impact is so directly disproportionate to their empirical output as these arch, vantablack neeks: a lesson that could well be learnt by so many others. Tooth is a unit; a measure of beauty; an irregularity. 

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ANDY STOTT - Too Many Voices (Modern Love)

ANDY STOTT - Too Many Voices (Modern Love) Too Many Voices is the fourth album from Andy Stott, a follow-up to 2014’s Faith in Strangers. It was recorded over the last 18 months and sees a diverse spectrum of influences bleed into 9 tracks that are as searching as they are memorable. The album draws for inspiration from the fourth-world pop of Japan’s Yellow Magic Orchestra as much as it does Triton-fuelled Grime made 25 years later. Somewhere between these two points there’s an oddly aligned vision of the future that seeps through the pores of each of the tracks. It’s a vision of the future as was once imagined; artificial, strange and immaculate. Full of possibilities. The album opens with the harmonised, deteriorating pads of the opening Waiting For You and arcs through to the synthetic chamber-pop of the closing title track, referencing Sylvian & Sakamoto’s Bamboo Houses as much as it does the ethereal landscapes of This Mortal Coil and Dead Can Dance. In between, the climate and palette constantly shift, taking in the midnight pop of Butterflies, the humid, breathless House of First Night and the endlessly cascading Forgotten. Longtime vocal contributor Alison Skidmore features on half the tracks, sometimes augmented by the same simulated materials; voicing the dystopian breakdown on Selfish, at others surrounded by beautiful synth washes, such as on the mercurial Over, or the dreamy, neon-lit New Romantic. It’s all far removed from the digital synthesis and the abstracted intricacies that define much of the current electronic landscape. The same cybernetic palette is here implanted into more human form; sometimes cold, but more often thrumming with life.

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Monday, April 18, 2016

Mundo Urbano #6 On Radio Quantica (15/04/2016)


01.Legowelt - Alien Abduction (Riverette)
02.Clay Rendering - River Without (Hospital Productions)
03.Basic Soul Unit - Jak'd Freq (Crème Organization)
04.Not Waving - I know I know I know (Diagonal)
05.FRAK - sudden haircut (Dark Entries)
06.DALHOUS - Response To Stimuli (Blackest Ever Black)
07.Klaus Schulze - Wahnfried 1883 (Brain)
08.eMMplekz - Ancient Weather Riffs (Mordant Music)
09.James T. Cotton - Sound of Winedrinking (Crème Organization)
10.Oliver Ho &  Danny Passarella - Forth (Passarella)
11.Micachu - Trip6love (with Tirzah) (DDS)
12.Autumns - Smother Me (Clan Destine Records)
13.Not Waving - Gutsy (Diagonal)
14.Shapednoise - Well-Being (Type Recordings)
15.Dedekind cut - American zen 1&2 (Hospital Productions)
16.DALHOUS - Ecstasy As A Mask Or A Shield ( Blackest Ever Black)
17.Story Of Isaac - Fading
18.Crisne - Hall of Wisdom ( Phantasma Disques)
19.KETEV - Linger (Where To Now?)

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Thursday, April 14, 2016

fonda acid - S s i k d R o w W

Tuesday, April 12, 2016

Sam Kidel - Disruptive Muzak (The Death Of Rave)

Sam Kidel - Disruptive Muzak (The Death Of Rave) Sam Kidel’s debut for The Death of Rave is little short of a modern ambient masterpiece. Following a celebrated debut for Entr’acte in 2015, the Young Echo and Killing Sound member’s sophomore solo album is a playful, emotive inversion and subversion of Muzak - that “background noise” variously known as “hold” music, “canned” music, or “lift” music - employing government call centre workers as unknowing agents in a dreamily detached yet subtly, achingly poignant 21 minute composition, backed with a DIY instrumental in case you, at home, want to get your phreak on. Drawing on research by the Muzak Corporation (the company who held the original license for their eponymous product), and his concurrent interests in the proto-internet technique of phreaking (experimenting or exploring telecommunication systems - Bill Gates used to do it, and thousands of kids have probably made a prank call at some point in their time), Sam played his music down the phone to the DWP and other departments, not speaking, but recording the recipient’s responses; subsequently rearranging them into the piece you hear before you. Aesthetically, the results utilise a range of compositional styles - ambient, electro-acoustic, aleatoric - and could be said to intersect modern classical, dub and vaporware, whilst also inherently revealing a spectrum of regional British accents rarely heard on record, or in this context, at least. But make no mistake; he’s not making fun at the expense of the call centre workers. Rather, he’s highlighting a dreamy melancholy and detachment in their tedious roles and tortuous, Kafkaesque systems, one known from first-hand experience. Disruptive Muzak may be rooted in academia, but it’s far from pretentious. We really don't want to give it all away, but the way in which he executes the idea, both musically and conceptually by the time the final receiver drops the line, is deeply emotive without being sentimental; making tacit comment on questioning our relationship with technology, economics and socio-politics in the UK right now: in the midst of right wing policy delivering swingeing benefits cuts and zero-hours contracts which damage those on the margins most, and a scenario where corporate composition and electronic sound form a blithely ubiquitous backdrop to capitalist realism. Highest recommendations from us!

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Peder Mannerfelt - Controlling Body

Peder Mannerfelt - Controlling Body (Peder Mannerfelt Produktion) Peder Mannerfelt saves his very best studio extractions for his private imprint with release of Controlling Body after myriad explorations divided between Ultimate Hits, Archives Intériéures, and Avian over the last 12 months. Featuring vocal contributions from Glasser, the album is experimental in structure, fleshed with coloured tones, and possessing a surreal in/human choir of processed voices - from cut-up reggae vox to ghost-in-the-machine sirens - he reorganises established elements of techno, electro, dub and pop like a tessellating rubik’s cube of idiosyncratic ideas and gestures. It’s arguably his strongest solo release to date, encompassing electro-acoustic rave hymns such as Building of the Mountain next to the duped techno step of Her Move before taking in the viscous ambient dancehall curves of BZ Reaction and ghostly dub drift recalling Pinkcourtesyphone in Coast to Coast. At its apex, the eerie gynoid sensuality of Limits to Growth marks this as something really special, and the rest doesn’t disappoint either, from the dank electro-acoustic chasm of Abysmal to the strobing techno twyster Perspectives and the experimental torch-song/synth-pop genius of I Love You. A real keeper, especially if you liked his work with Fever Ray or Roll The 
Dice, but fancied something farther out.

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Monday, April 11, 2016

TRUX - Trux (Office Recordings)


TRUX - Trux (Office Recordings) Office Recordings introduces Trux with Office 07, an extended EP tinged in a smokey blue hue of low-fidelity candour and aberrant compositions. Blankets of white noise and distortion, lap over renditions of hazey house, stripped synth arrangements, jungle breaks, and queer patterns. Nowness!

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Monday, April 04, 2016

Dedekind Cut - American Zen (Hospital Productions)

Dedekind Cut - American Zen (Hospital Productions) Comentários: American Zen finds its centre in quivering, pensive drones and fractured small sounds, but is rent with an oceanic sense of scale, deploying splashes of distant percussion, extreme panned vocal snippets and slowly escalating harmonic space perfused by crackling radiowaves and that intangible timbre of an old TV turned on somewhere, but you can’t quite pick out its location. It unfolds at a glacial pace in five parts, crossing lines/waves comparable with Chino Amobi & Rabit’s ultraviolent mixtape, the nostalgic Americana yearn of Torn Hawk, and even The Caretaker’s hallowed aether zones; perpetually out of reach, submerged or hardly there, but feeling as though he’s right there, breathing quietly in the background and watching you listen.Excellent stuff, perhaps the most interesting of Bannon’s releases we’ve heard so far.

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Simon Shreeve - The Healing Bowl (Downwards)


Simon Shreeve - The Healing Bowl (Downwards) (Killer nexus of D&B-informed techno rolige and dark ambient themes from Simon Shreeve, one half of Kryptic Minds, for his debut on Downwards. If you're into Regis, Demdike Stare, Raime etc - this is a must-check. Healing Bowl forms a timely collusion between an artist and label who’ve been converging on a mutual mesh of gutted D&B dynamics with techno tempos and dark ambient feels for some time now. It forms Simon Shreeves’ debut release under his birth name after more than a decade of releases as part of Kryptic Minds, and more recently his techno-leaning solo output as Mønic for Tresor. A match made in techno purgatory then, Healing Bowl metes out five pensile, nerve-pinched pieces defined by finely sculpted bass, shivering percussion and cranky concrète processing. Never showy, but with a nuanced atmospheric elegance and appreciation of proper body mechanics for the ‘floor or bedroom. A/SA falls down the trapdoor first with plummeting subs and spanked spring reverbs setting a crypt-like tone and spatial setting which bleeds thru into the title cut’s rolling swagger and strafing, daemonic silhouettes, before A Thousand and One locates and locks into a dank pocket of plasmic bass and spectral vocal recital. Sharuda follows with a ghostlier, eldritch pallor of melodic development giving rise to sepulchral harmonics amidst fizzing, prickly percussion and elliptic sub bass curves, yet the EP’s strongest dancefloor cut is saved for last with the elusive, entropic sound design of S/KA seeming to invert techno and D&B dynamics with vampiric lust and romance. Shreeve has evidently found an empathetic and steadfast partner in Downwards. Here’s to a lasting relationship.

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Alex Barnett - Chew From The Mind (Midwich)

Alex Barnett -  Chew From The Mind (Midwich) Comentários: Midwich is proud to present the full-length debut of Alex Barnett under his own name. Barnett is a Chicago-based electronic musician known for his work with dark ambient group Oakeater and collaborative work with Faith Coloccia in Barnett & Coloccia on Blackest Ever Black, in addition to a handful of cassettes and collaborative projects. Barnett's personal blend of sound design and composition comes from many hours building, repairing and breaking electronics. Chew From the Mind is a raw yet elegant synthesizer album that is surreal, beautiful and evocative of previous horror-score theme work, while expanding his sound toward more raw electronic influences. The album draws from a heady mixture of early new wave and synth-pop, ‘70s-era Miles Davis, science fiction literature and the past 15 years of the American underground. Within its thematic unity, Chew From the Mind paints a variety of scenarios, ranging from claustrophobic to vast, ethereal to rawly physical. The tracks were recorded and mixed in his home studio, employing a diverse set of drum machines and synthesizers in various states of functionality or development. Chew From the Mind is not only a defining statement for Alex Barnett, but for Midwich and the midwestern electronic underground. It is an alluring and addictive listen. "This record focuses on themes of consciousness: embracing my own human ineffectiveness and mutant qualities, exploring machine personality, contemplating the functions and malfunctions of the mind, and mapping the suspense of everyday life."--Alex Barnett

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Sunday, April 03, 2016

Body-san - Shining the Money Ball (1080p)

Body-san - Shining the Money Ball (1080p) Comentários:Smooth and vibe-focused marriage of electronic grooves and dank chords from Kansas City’s Brandon Knocke aka Body-san, following up a release on 100% Silk with 10 tracks colorized by human voices/conversations and landscapes. “Shining The Money Ball” has a polished, synthetic naturalism (lots of water and fauna vibes on these synths) and gets its sound inspiration from jazz-funk, 1970s & onward library music, and also creates a vague, unspecific but 'perfect crime' cinematic narrative.  In the past Knocke has released a fairly wide spectrum of electronic-based music under different names, notably as Discoverer for experimental-leaning labels like Digitalis (RIP) & VCO Recordings 
Body-san "PICKING UP STRANGE" from officialmichaelgreen on Vimeo.

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Kedr Livanskiy - January Sun (2MR)

Kedr Livanskiy - January Sun (2MR) Comentários: Russian Underground novelty with a bunch of ethereal dance tunes, cool stuff. If you are into Inga Coopeland and Maria Minerva and so on... check this out!

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KWC 92 - Iran

KWC 92 - Iran (L.I.E.S.) The L.I.E.S. release schedule looks particularly strong this spring, with slated albums from Inhalants and Gunnar Haslam amongst the highlights. There's also the small matter of this sublime set from returning heroes KWC 92, aka Born Free's Samo DJ and Top Nice man Max Stenerudh, whose debut full-length on Ron Morelli's back in 2013 remains a highlight of the L.I.E.S. discography. This eponymous set is as atmospheric and enlightening as they come, contrasting moments of cut glass ambience, dreamy electronica and Vangelis-like soundtrack fare, with occasionally grittier cuts to puncture the head-in-the-clouds mood. It's a brilliant blend that repeatedly delivers tracks of great quality, with highlights including the heart-aching, Eastern-goes-alien wonder of "NR6", and the widescreen, deep space bliss of "NR8".

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