MAGIC MIX

avant . leftfield . post-rock . drone . experimental

WEEK STARTING 26 Jan

Genre pick of the week Cover of Cave Ritual by Al Lover.

Al Lover

Cave Ritual

    Al Lover is a producer from San Francisco, but there’s more layers to his wall of sound than meets the ear. Over the last few years he has gained much notoriety for his melding of contemporary and past garage and psychedelic rock into spaced out abrasive beats. Often compared to producers like Edan, J-dilla and Gaslamp Killer, Al gravitates towards a sound composed of crunchy drums, shaky percussion, chopped samples and layers of textured effects building on the psychedelic music of the past and present.

    His first release through Stolen Body Records will come out on January 26th and is called Cave Ritual.


    FORMAT INFORMATION

    Ltd LP Info: COLORED PURPLE IN GREEN VINYL!

    Africa Express

    Presents...Terry Riley's In C Mali

    'Africa Express Presents... Terry Riley's In C Mali' follows the critically acclaimed 'Maison des Jeunes' compilation album and marks the 50th anniversary of the composition 'In C' by composer Terry Riley. A conceptual masterpiece, the insistent, kaleidoscopic rhythms of 'In C' inspired future classical and rock music. For this first African version of the piece, Africa Express unites a group of Malian musicians with Brian Eno and Damon Albarn, and led by classical conductor Andre de Ridder.

    Terry Riley said "I am overwhelmed and delighted by this CD. I was not quite prepared for such an incredible journey, hearing the soul of Africa in joyous flight over those 53 patterns of ‘In C’. This ensemble feeds the piece with ancient threads of musical wisdom and humanity indicating to me that this work is a vessel ready to receive and be shaped by the spontaneous feelings and colours of the magician/musician. I could not ask for a greater gift for this daughter’s 50th birthday."


    FORMAT INFORMATION

    LP Info: Limited edition vinyl - 500 pressing

    Marcia Bassett & Samara Lubelski

    110 Livingston

      Second album from this weighty pairing of two of America’s most audacious psychedelic drone proponents, following a stunning release on Graham Lambkin’s Kye label a couple of years back. The combination of Marcia Bassett’s pretty well processed guitar, squashing otherwise raging howls into densely packed tones of feedback wail, and Samara Lubelski’s long violin voyages into the drone zone is something wondrous to behold. One side-long trip and three shorter, but nevertheless expansive, explorations of black magic meditation. Don’t miss this one.

      Comes in an edition of just 250 on 140g vinyl with beautiful matt sleeve art.


      The Body & Thou

      You, Whom I Have Always Hated

        The LP is pressed on virgin vinyl and packaged in a jacket with black flooded pocket, printed inner sleeve and free download card. Initial copies pressed on limited clear vinyl, remaining copies on black.

        The Body and Thou are bands with Southern roots that have been pushing the boundaries of heavy metal for over a decade. Both have maintained relentless touring schedules, a dedication to DIY ethics and aesthetics and a commitment to push their respective brands of extreme music into previously unexplored territories. ‘You, Whom I Have Always Hated’ is a new collaborative release that showcases both bands’ unique abilities to create music that is emotionally effecting and unrelenting.

        On ‘You, Whom I Have Always Hated’ each band’s distinctive elements shine through and combine to create something more visceral than the sum of their parts. While the groups have different approaches to live performance and stylistic nuances, they share general creative ideas and have a history subsumed in themes of alienation, melancholy and despair. They describe the new collaboration as “a twilight dungeon crawl exploring the winding, ruined halls of Mad King Duro’s Castle, best friends at your side, enemies crushed beneath your heels, mysteries solved, and treasures found.”

        Seth Manchester and Keith Souza (Battles, Lightning Bolt, Javelin, The Body) recorded the album at Machines With Magnets. · The Body and Thou toured together last summer (playing both collaborative and individual sets), headlining Gilead Media Festival. Both bands have an active tour schedule for 2015 including more touring together.

        In keeping with Thou’s tradition of 90s worship and The Body’s knack for ingenuity, the release includes versions of ‘Terrible Lie’ by Nine inch Nails and ‘Coward’ by Vic Chesnutt.

        The Body’s Thrill Jockey debut ‘Christs, Redeemers’ was praised by Pitchfork, The New York Times, Decibel, Noisey / Vice, The Fader and SPIN. The album also landed on Best Of Year lists with Pitchfork, The Quietus, All Music Guide and Cvlt Nation.

        Thou’s 2014 album ‘Heathen’ was praised by NPR, Decibel, Pitchfork, Metal Injection, Cvlt Nation and Steel for Brains. The album was on Best Of Year lists by Decibel (#6), Stereogum, Metal Sucks and Steel for Brains.

        The CD version is packaged in an old style tip-on gatefold package with insert. This format contains the brand new album ‘You, Whom I Have Always Hated’ in addition to the 2014 album ‘Released From Love’ (previously only released on vinyl and never available digitally or on CD).

        The Body and Thou are bands with Southern roots that have been pushing the boundaries of heavy metal for over a decade. Both have maintained relentless touring schedules, a dedication to DIY ethics and aesthetics and a commitment to push their respective brands of extreme music into previously unexplored territories. ‘You, Whom I Have Always Hated’ is a new collaborative release that showcases both bands’ unique abilities to create music that is emotionally effecting and unrelenting.

        On ‘You, Whom I Have Always Hated’ each band’s distinctive elements shine through and combine to create something more visceral than the sum of their parts. While the groups have different approaches to live performance and stylistic nuances, they share general creative ideas and have a history subsumed in themes of alienation, melancholy and despair. They describe the new collaboration as “a twilight dungeon crawl exploring the winding, ruined halls of Mad King Duro’s Castle, best friends at your side, enemies crushed beneath your heels, mysteries solved, and treasures found.”

        Seth Manchester and Keith Souza (Battles, Lightning Bolt, Javelin, The Body) recorded the album at Machines With Magnets.

        The Body and Thou toured together last summer (playing both collaborative and individual sets), headlining Gilead Media Festival. Both bands have an active tour schedule for 2015 including more touring together.

        In keeping with Thou’s tradition of 90s worship and The Body’s knack for ingenuity, the release includes versions of ‘Terrible Lie’ by Nine inch Nails and ‘Coward’ by Vic Chesnutt.

        The Body’s Thrill Jockey debut ‘Christs, Redeemers’ was praised by Pitchfork, The New York Times, Decibel, Noisey / Vice, The Fader and SPIN. The album also landed on Best Of Year lists with Pitchfork, The Quietus, All Music Guide and Cvlt Nation.

        Thou’s 2014 album ‘Heathen’ was praised by NPR, Decibel, Pitchfork, Metal Injection, Cvlt Nation and Steel for Brains. The album was on Best Of Year lists by Decibel (#6), Stereogum, Metal Sucks and Steel for Brains.

        "We’ve played a lot of shows and it’s senseless to document them all but every once in a while you get the feeling that something special is happening - and that it might only happen once. That’s what it felt like when in 2011 we assembled a group of friends - Four Tet, James Holden, Ahmed Gallab of Sinkane and the quartet of horn players who recorded on ‘Swim’: Kyle Brenders, Colin Fisher, Rob Piilonen and Steve Ward, and the four members of Caribou’s regular touring band - under the name of the Caribou Vibration Ensemble. And that’s why it felt like it would be a good idea to document it.

        We gathered for a small tour around ATP’s Nightmare Before Christmas festival in 2011 and the music collected here comprises recordings from two shows - one at Scala, London on Dec 7th, 2011 and one at Concertzaal Vooruit in Ghent, Belgium on Dec 8th, 2011.

        Opener ‘Bowls’ is reinvented by combining the album version from ‘Swim’ with elements from James’ Holden’s own remix. The next track ‘Ahmed, Colin, James, Kieran, Kyle, Rob and Steve’ is an improvised collaboration between all the members not in the regular Caribou touring band and features Ahmed’s drum kit triggering all the synthesizer sounds coming from James’ modular synthesizer. The release closes with an epic version of ‘Sun’.

        Sadly, in 2014, we lost a dear friend and our sound engineer for almost a decade, Julia Brightly. This release is dedicated to her memory with all proceeds going to genderedintelligence.co.uk.

        Thanks for listening",
        Dan Snaith, Caribou

        The Caribou Vibration Ensemble is:
        Kyle Brenders - soprano saxophone Colin Fisher - tenor saxophone Ahmed Gallab - drum kit, electronic drum triggers Kieran Hebden - electronics, synthesizer James Holden - modular synthesizer Rob Piilonen - flute John Schmersal - vocals, bass guitar Ryan Smith - electric guitar, synthesizer Dan Snaith - vocals, synthesizer, electric guitar Steve Ward - trombone Brad Weber - drum kit


        FORMAT INFORMATION

        LP Info: Comes in clear sleeve with a poster designed by Jason Evans and Matthew Cooper.

        Keiji Haino / Jim O'Rourke / Oren Ambarchi

        Tea Time For Those Determined To Completely Exhaust Every Bit Of This Body They've Been Given

          Incredible live document of the phenomenal power trio’s 2nd set from March 2013, beautifully recorded in Tokyo, at the legendary SuperDeluxe, their 6th release as a trio to date.

          - This is a companion release to the trio’s Only Wanting to Melt Beautifully Away Is It a Lack of Contentment That Stirs Affection for Those Things Said to Be as of Yet Unseen CD/LP (BT011) which was a release of the 1st set the trio played that same night

          - A wide-ranging performance capturing the trio in truly peak form, reminiscent of some of Fushitsusha’s greatest moments, music made with the ingredients of rock that somehow manages to sidestep all of its forms and traditions while retaining and amplifying its fundamental power.

          - LP only release

          - Artwork design by Stephen O’Malley including a gorgeous live pic by Ujin Matsuo and a stunning cover image from noise legend Lasse Marhaug. Vinyl cut made by Rashad Becker at Dubplates & Mastering, Berlin

          The Notwist

          The Messier Objects

            When The Notwist returned with their acclaimed7th studio album 'Close To The Glass' (their debut for Sub Pop Records) in early 2014, many were enchanted by the epic instrumental 'Lineri'. It was the only instrumental track featured on the LP,but according to Notwist-singer Markus Acher, instrumental works have had an especially big impact on the album and its arrangements. Between 2008's 'The Devil, You & Me' and this year's 'Close To The Glass', The Notwist not only concentrated on various solo projects, but also worked for several theatre productions and radioplays. 'The Messier Objects' is a compilation of some of these works. The collection obviously brings to mind the ghosts of Library Music and 70s soundtracks, but can also be heard as a summary of the band's ever evolving musical cosmos: The seventeen featured pieces range from sample-based, electronic collages to the buoyant post-rock of 'Das Spiel ist aus'.

            Whether the band is experimenting with modular synthesizers, analogue percussion, or even horn sections ('Object 11'), you will always find musicin a constant flow of gentle grooves that make this light-footed and open-minded collection more than just a counterpiece to 'Close To The Glass'.


            FORMAT INFORMATION

            2xLtd LP Info: Vinyl is double vinyl with etching in a screenprinted cover.

            Claude Speeed

            Sun Czar Temple

            Scotland's Claude Speeed first came to our attention via his epic 2012 remix of Kuedo's 'Work Live & Sleep In Collapsing Space'. With a history in various bands such as RUSSIA and American Men, his work draws from Scottish post rock, 90s and 00s electronica, American minimalism, noise & drone. After a significant time travelling abroad he relocated to Berlin and released his debut album for LuckyMe, entitled 'My Skeleton'. Now he is releasing his follow-up EP 'Sun Czar Temple' on Planet Mu - an epic set of songs that distort emotional songwriting with textured synthetic ambience and computer noise. Dreams on hard disk. The EP opens with the epic 'Traumzeuge', a piece for digitally obliterated piano and plugins taking its inspiration from territories of culture shock and insomnia. Starting with monolithic slabs of SOLAR PARALLAX distortion, the layers of intensity build until eventually dropping out, revealing gentle, warm guitar harmonics and tender vocals. 'Dr. Liz Wilson' begins with twinkling, bleeping arrays of electronics: implied interstellar communication. Warm sinewaves and rising tone clusters build up into a rushing wind tunnel of ESCAPE TIME FRACTAL sound. Hidden drums, ghost choirs, and geometric cryptophasia arpeggios disappear into chaos. An Adrián Villar Rojas memory of terraforming and futuristic DMT ruins. 'VIN', serves as an interlude, built on field recordings from a short trip into an empty forest, made with looped tape noises and crushed oneiric chords. 'Fret' draws from a story about an abandoned palace, far away from anything. Initially composed entirely visually in Logic, sound muted, without any timing grid. Dense pitch shifted chords and multiple random effects building into strangely unearthly pop with Ryuichi Sakamoto 80s drums and obscured vocalvocalvocal loops.

            The final track, and the EP's most epic, 'RU Sorry?' (CITY CASTLE VICTORIES) opens with simple synth 5th interval figures evolving slowly into an enveloping, rippling, cosmic fuzz. building up to near noise, then falling away into blocks of buzzing chords. Distortion appears gently until a smashed out post rock crescendo bursts through.


            Jan St Werner

            Miscontinuum Album

            ‘Miscontinuum Album’ documents an impressive new work by seminal electronic musician Jan St. Werner, whose innovations with Mouse On Mars and Microstoria are well documented.

            This album is the third entry in Werner’s lauded ‘Fiepblatter Catalogue’ series and features contributions from Dylan Carlson (Earth), Markus Popp (Oval), Taigen Kawabe (Bo Ningen) and Kathy Alberici.

            ‘Miscontinuum Album’ is a radical convergence of sound exploration and storytelling that has few precedents. It is a dark gothic electronic work whose dense layers reveal more with each listen. The central concept of ‘Miscontinuum’ explores misconceptions of time and memory, inspired by unique acoustic phenomena derived digital phasing and musical time stretching techniques.

            There is an aura of doom that pervades the work. Much of the album’s evocative nature comes from the interplay of Werner’s electronics with Alberici and Kawabe’s voices and the contrast between those organic and inorganic elements. Popp, a longtime collaborator with Werner in Microstoria, wrote the libretti, which is presented in five distinct scenes and recited redolently by Carlson. The surreal plot involves a progressive distinction of time as a force rather than a structuring system and an individual who can shift consciously between states within that force. The high concepts and unusual creative partners combine for an album that is uncommonly emotionally resonant.

            FORMAT INFORMATION

            2xLP Info: Deluxe 2LP version features expanded artwork with each LP in its own
            jacket, digital download and three bonus tracks not on the CD edition.

            CD Info: CD version packaged in a 4 panel mini-LP style gatefold package.

            Following on from a pair of extended players released in 2011 Andy Stott returns to Modern Love with ‘Luxury Problems’, an 8 track album of new material recorded over the last 12 months.

            Five of the tracks on the album feature the voice of Alison Skidmore, Andy’s one-time piano teacher whom he hadn't seen since he was a teenager back in 1996. There was no grand gesture in mind, it just sort of happened - but after almost a year of studio work the result is really quite unlike anything you’ll have heard from him before.

            ‘Numb’ opens the album with Alison’s voice; layered and looped but essentially left bare and exposed, tumbling into a dense shuffle, sort of somewhere between Theo Parrish and Sade, but more fucked. ‘Lost and Found’ follows and deploys a growling rave bassline and a disturbed vocal, the beat assembling itself around a squashed Linn Drum like a submerged Prince / Cameo production, haunted and impenetrable, but full of funk.

            ‘Sleepless’ started life as an African drum edit that sooner or later succumbed to Stott’s intense rhythmic shifts. It’s a sound that’s been imitated countless times since the release of ‘Passed Me By’, here re-tooled and re-built for its next evolutionary phase. ‘Hatch The Plan’ ends the first half of the album with some heavily treated location recordings and a low end grind that probably doesn't quite prepare you for the vocal arrangements that follow - it’s just a beautifully inverted pop song.

            The second half opens with ‘Expecting’, the most recognisably ‘Stott’ moment on the album: a wrecked, deliriously knocked-out 4/4 shuffle deployed at halfspeed; those heavy kickdrums sucking in everything around them. ‘Luxury Problems’ is next and offers up the album’s most quietly euphoric and open 5 minutes; conventional arrangements and drum loops disrupted by sharp disco bursts that mess with what you know: it’s straight and beautiful and unbalanced and damaged, somehow all at once.

            “Up the box” fucks with the narrative and goes somewhere else entirely, an extended intro that seems to build continuously for 3 minutes before breaking off into a slowed-down Amen edit, creating a kind of narcotic Jungle variant that fragments everything and ends just at the point you think it’s going to go off, before “Leaving” finishes the album with an almost unbearably beautiful arrangement of voice and synth and a final key-change that takes you from joyful to forlorn in an instant.


            Bone-shaking tropical funk bolstered with guitar hooks that sound like Congolese finger pianos.

            Lead single ‘African Tree’ strolls past on a marching band rhythm, complete with an arenasized chorus and Kyuss-heavy stoner rock guitars.

            Produced by Andrew Hung of Fuck Buttons.

            FORMAT INFORMATION

            LP Info: LP format includes a copy of the album on CD.


            RT @Mr_Dave_Haslam: 31 Jan 1987 Happy Mondays & the Inspiral Carpets at the Boardwalk £2 & £1 off entry to the Hacienda http://t.co/bzw5qn8
            Sat 31st - 11:48
            Rothmans 12" freebies alert! We have 2 TPs of ROTHMANS8 to give away with FREE tkts 2 tnght's party. We are literally just giving them away!
            Sat 31st - 10:54
            Last 5 tickets for @JanelWeaver & @HorsebeachBand @DeafInstitute 21st Mar gig! Get £2 off ticket price when buying 'The Silver Globe' here!
            Sat 31st - 10:36
            RT @oreilly2015: @XfmManchester Down to @PiccadillyRecs to spend a few ££££
            Sat 31st - 10:34
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