MAGIC MIX

house . techno . electronica . ambient

WEEK STARTING 15 Dec

Genre pick of the week Cover of Circuitous by Afrikan Sciences.
Peerless rhythmist and sonic explorer Afrikan Sciences makes his PAN debut with ‘Circuitous,’ the third full-length, freeform offering from the New York-based artist.

At the nexus of Afrofuturism, science fiction, transcendental free jazz, and future hip hop, this new work from Eric Porter Douglas casts itself and its creator in a liminal zone most recognizably charted by astral traveler Sun Ra.

‘Circuitous’ follows from nearly a decade of releases for Deepblak - the Oakland-rooted imprint of frequent collaborator Aybee - and shares common blood with both the elevated conscious- ness of late ‘80s club culture and contemporary West Coast beat scene

Built around Douglas’ signature polyrhythms and complex melodies, the unorthodox agility demon- strated throughout the album’s fourteen tracks reflect his long history of live, improvised sets combining multiple turntables, upright bass, and a command center of digital tablets and controllers. Each track maps the artist’s own movements, tracing paths of flight, highway trajectories through tunnels and over bridges, and rides through rough and gated neighborhoods. If familiar on the surface, deeper or repeated listenings to ‘Circuitous’ reveal the dynamic multiplicity embodied within.

‘Circuitous’ is a free and unbound body of work - one that defies easy classification yet translates fluidly across multiple environments - compiled over double LP in order to fully realize the scope of Afrikan Science’s sonic palette.

Acid Mondays

Pint Of Cornflakes EP

We find Acid Mondays slap bang in the middle of a festive flavoured purple patch at present; Instinkt turning out yet another solid EP from the Ibiza based superstars. "Pint Of Cornflakes" is thick, heady and gloopy, their trademark terrace sound filling up every frequency of the Funktion1's (or is that Void Air Motion these days?) and forcing our body to contort and wiggle. The pair's hypnotic refrains, fx and little idents are ever present throughout and as usual, they offer up a more stripped-back version through "Cornflakes Beats". "Sleazy Wonder" is up next and unloads some squelchy, skewiff drums and chopped and pulled female vocal lines. Heading down a route more suited to the warm up, Acid Mondays show that they're not all main-room peaktime maestros and are more than capable to get the place simmering red hot early on in the session. "Colon" concludes, jittering and gyrating with all the energy of a 2AM Iberian dance-off under the stars. Flapping leads, big breakdowns and a tongue-in-cheek approach are sure to unite the dancefloor in big smiles and bigger dancemoves. Massive!

Album Cover Frame

Black - 4 Pack

    A clear plastic fronted black wooden album frame. Just like a standard picture frame, with the sleeve held in place via metal clips on the back.

    Accomodates single record sleeves to the size of 31.5cm x 31.5cm (please note; does NOT hold gatefold sleeves).

    Perfect for all your favourite record sleeves.

    £12.99 for one frame, so buying 4 saves £8.


    Album Cover Frame

    White - 4 Pack

      A clear plastic fronted black wooden album frame. Just like a standard picture frame, with the sleeve held in place via metal clips on the back.

      Accomodates single record sleeves to the size of 31.5cm x 31.5cm (please note; does NOT hold gatefold sleeves).

      Perfect for all your favourite record sleeves.

      £12.99 for one frame, so buying 4 saves £8.

      Our favourite beret wearing Anglo-Argentine pops up on the rejuvenated Aim imprint with his first release since swapping London for Berlin in the summer. "Two Beating Hearts" follows in the footsteps of Arnaldo's previous releases on Smallville and Blank Slate, but transfers his intelligent sound designs and intricate rhythms to the heart of the club. We're in offbeat dancefloor mode right from the off as Will pairs piano vamps and polyrhythmic percussion on the sweltering "Primavera". Armed with a bumping kick, galloping cowbell and sizzling hats, Arnaldo forges an irresistible groove decorated with vocal snippets and a techy bassline. As you lose yourself to the swirling beauty of this alternate peak time universe, the moustachioed producer ramps things up a gear with a massive stargazing synth that'll have all the hands in the air. After a cracking start, things get even better with the Timmy Thomas sampling brilliance of "Only I Know The Name Of This Track". Topping a classic house groove with sublime rhodes chords and some sort of synth slinky (killer signature sound alert!) Arnaldo allows the perfectly sourced sample of "Why Can't We Live Together?" to emerge from the deep gradually, ensuring it achieves full impact when all the ingredients come together. This one's garnered rapturous reviews from dancefloors across Europe during the producer's recent sets, and it's destined to do the same for you. Flip the disc and lose yourself to the hypnotic rattle and emotional depth of "Blossom". Melancholic house at its best, this B-side weapon marries longing organ leads with a deep and warm bassline, while a subdued African rhythm sits deep in the mix. As the track develops, those heartfelt organ lines are joined by stuttering, Field-esque keys and a body moving ride as Arnaldo makes you dance, cry and fall in love all at once. Packed with the bittersweet emotion of a fading love affair, this secret weapon might just be the one you keep coming back to.


      "Black Dog" is the debut EP from Untzz Twelve Inch co-founder Babicka, a record that presents a brooding and intelligent trio of minimalist tools, made for mixing. The UK born, now fully fledged Australian resident maintains a raw and dark energy synonymous with his name since breakthrough track "Zero (The One)". "We Don't Need All Night" has the blurred and hazed production aesthetic that's forever present throughout clubland (Fred P and Pepe Bradock both jump to mind) but combined with that ultra hi-fidelity Untzz punch. It's an eyes-down, jazz-inflected house groover of the highest order, hypnotic vocal layers and a thick Rhodes permeating through the fizzing percussion. "Stars Of Avion" is a chunky and masculine, acid-tinged micro-banger. After a long drum intro some beautiful flanging, gravity-less low-end basslines and leads come in. A bit Ron Trent-esque but galactically-aligned and sublime in their execution; gentle space twinkles occupying the very recesses of the mix. "Drenching" unloads a darker, dub-tainted view of the universe. Taking cues from the greats of the genre (this one screams of early Chain Reaction) Babicka faithfully represents the sound to its maximum potential! A true nugget for dub-techno aficionados everywhere (TIP!). This debut EP is a noteworthy addition to Babicka’s growing reputation as one of Australia’s best selectors and future talents. Recommended.

      STAFF COMMENTS

      Matt says: Untzz - fast becoming the go-to label for DJ-friendly club trax. And rightly so. Exquisitive selection and wonderful pressings synonymous now with the label.

      Despite the attention and love devoted to Chicago's house scene, there are still a few producers who've managed to evade the praise they deserve. One such producer, Chris "Bam Bam" Westbrook  was responsible for releasing a slew of quality records alongside artists like Armando & Mike Dunn on his own Westbrook label, but has since flown under the radar. One record that mysteriously never officially came out on the label was "Hot Spot" from 1987, never making it past White label stage. Here, for the very first time, "Hot Spot" finally gets a full release boasting all 4 alternate mixes of the track by the man himself. Suggestive lyrics, chattering drum machine rhythms and uplifting pianos in the classic raw Chicago style are what makes "Hot Spot" a special re-issue. Harking back to a headier time, the record still slams hard today and shows contemporary producers how House music should really be done. A long lost, un-released nugget from the old school, re-mastered from the original DAT and officially released for the first time with original Westbrook label artwork in conjunction with Bam Bam / Westbrook Records, Chicago USA.


      More essential Burrell related goodness from deep in the vaults of Nu Groove. This time the brothers collaborate with Basil Thomas aka the wonderfully named Basil Hardhaus on "Make Me Dance", another stomping NY garage house smasher from 1991. It's all here, vocal mixes, dubs, shout outs to all the radio and club DJ's of the day, the record store and promotions people and most importantly - the regulars and dancers of NYC's legendary Shelter club where the brothers were regular fixtures! On the flipside there's more garage pressure in the shape of the grooving "For The Underground" and two separate mixes of the much sampled (but never bettered!) "Black Man". All the tracks included here have that deep, late night, classic sound that is instantly recognizable as the Burrell Brothers, sultry vocals, warm pads and heavy, swinging, raw drum beats! "Make Me Dance" has always been one of the tougher 12"s to track down from the enviable Nu Groove catalogue. Now it's here, back again, re-mastered, re-pressed and re-issued in conjunction with the Burrell brothers and Nu Groove records. One for the real house heads!


      Björk

      Biophilia Live

        “A dazzling audiovisual spectacle that benefits from the full cinematic treatment... an imaginative stand-alone artwork.” - The Hollywood Reporter

        The critically acclaimed documentary film which captures the multidimensional concert centred on Björk’s eighth studio album, titled ‘Biophilia Live’, will be released on audio-visual formats via One Little Indian Records.

        The film documents the intimate ‘Biophilia’ performance at London’s Alexandra Palace where Björk was accompanied by unique musical instruments, collaborators and visuals. Shot by directors Nick Fenton and Peter Strickland and produced by Jacqueline Edenbrow / Gloria Films, the film also features science and nature archive and found footage inspired by the themes of the album, as well as animation which has been augmented with the music of ‘Biophilia’.

        The infinitely creative journey presents a culmination of work that represents one of the most original musical endeavors of a generation.

        The DVD and Blu-ray formats also feature extra content filmed during Biophilia’s residency at Japan’s Miraikan Museum and the options of stereo and 5:1 surround sound.

        FORMAT INFORMATION

        3xLP Info: 3xLP+DVD.

        The fourth release on 1-800-Dinosaur comes from label co-founder and resident DJ James Blake. Road tested at summer festivals and on the 1-800-Dinosaur BBC R1 residency show the "200 Press EP" consists of 3 off the wall soulful house tracks and a weird poem, split across a 12" and 7" vinyl doublepack. "200 Press" kicks us off in deep and subby fashion, as Blake combines neo soul with deep, bass-led house. Layering slowed down hip hop vocals with his own idiosyncratic vocals over a synth heavy melody and stumbling rhythm, the producer creates a wall of sound that could just as easily be four different tracks being dropped at once. On the flip "200 Pressure" is a dark and disturbed future dub incarnation, which finds the synth line of the original mangled and hung out between rattling beats and echo laden samples. Over on the 7", Blake shows off the poise which made him a star on the sweet and subtle "Building It Still". The producer achieves the perfect balance between the deep and metallic sub and his gently played piano and sampled vocals. I can see this being a secret weapon and collectors item for his fans over the years to come. On the flip, we're treated to a odd and uneasy poem, over the kind of melancholy and jazzy piano Keith Jarret made his own. The artwork has been carefully designed in photoshop by a designer before being printed onto individual labels by a machine and then stuck onto the vinyl. Each vinyl has been carefully placed into a black cardboard sleeve. This is the first ever release to be mastered by a pack of lions at the Addis Ababa Zoo in Ethiopia. For further enquiries please contact Jah.

        This total rarity from Nu Groove legend Ronald Burrell, which was previously only available as a test pressing, finally gets a full vinyl release, remastered for modern club use. The four track EP takes in Burrell's varied musical influences and flips them into seriously deep territory. Opener "Journey" is an epic jam punctuated by an 808 cowbell, beautiful pads, strings and Ronald's voice asking us to join him on a journey through our own minds. Second cut "Feelin Jazzy" picks up the pace a little, hitting us with a stripped back rhythm blessed with some choice, chopped up jazz samples while vocal stabs keeps things moving in the right direction. Over on side-B we are treated to the deepest groove imaginable thanks to "Bedtime Story", which has all the trademarks of a classic Burrell production; soulful vocals, smooth melodies and crisp drum programming. Closing track "The Crib" takes us to church for a hands in the air finale, as Burrell tops a circular piano bassline with killer gospel organ stabs and sizzling tambourine. Can I get a hallelujah?!


        Kerri Chandler

        House Legends - Kerri Chandler Sampler #2

        The second sampler from King Street celebrating the work of the mighty Kerri Chandler. Kerri's career in dance music stretches way back to the late 80's and he has remained at the top of his game throughout, thus rightfully earning him the title of - House Legend!

        As with the sampler before, the King Street vaults have been raided for only the highest quality cuts from his extensive back catalog. Kicking off the EP is his all-time classic, monster, dancefloor wrecking "Bar A Thym", A real deep House masterpiece that should need no introduction and the perfect way to start things off. Over on the flip we are treated to "Welcome To King Street" a deep, immense spoken word love letter to the dancers delivered in true "Kaos 6:23" fashion! This track has never been issued on vinyl before, only ever appearing on the 2012 King Street compilation of the same name. Finishing things off is "Be There", another solid banger lifted from the "Kaoz On King Street Chapter II" 12" from 1997. All in all, a killer selection of tracks from a true master!

        This (and the preceding) EP are the perfect points for those who missed these killer tracks first time around, or are a great place to start for those who are new to the legendary Mr. Chandler's sounds. All tracks included have been re-mastered and re-pressed in full conjunction with King Street Sounds, New York City.


        Australian synthesizer enthusiast, boogie revivalist and occasional house producer Inskwel dons his rarely used Cold Chillin' Inkswel alias for this outing on Marcel Vogel's Lumberjacks In Hell label. While the Aussie producer's disco and boogie influences can be heard on "Lemonade City", for the most part the EP is a house-centric affair. "Mercury Retrograde" melds a midtempo, head-nodding chugger out of backwards synth melodies and analogue sounding beats, while "Ompai" delivers his usual, soft-focus blend of vintage synths and warm, floor-friendly bottom-end. There's a chunkier feel about the heavily filtered disco bump of "Lemonade City", while "Degrees In The Shade" moves from metronomic house throbber to sparse P-funk jacker in the blink of an eye.

        Cuticle

        Mind Holding Pattern

          When Cuticle’s asteroid techno shrapnel formations finally streak the sky, they’re immediately recognizable – the stark cubic mixing eccentricities, a clashing crosshatch of alien bass patterns and arcade synth fingerpaint, acid atmospherics dripped like candlewax, poems whispered through futuristic air ducts. Brendan O’Keefe’s phantom touch has been distinct since the project’s origin but Mind Holding Pattern feels even more defined and isolated than his earlier work, nine morphing textures charged with different voltages. “Antigogglin” and “Faberge Tear” spywalk a stealthier electronic heartbeat, but “God Still Cannot” and “Beg To Exist” come down thick like heavy Depeche Mode lessons learned at cosmic desert raves, restless and deranged. As always his layouts are spiked with dabs of freeform mutation and wobbling grids, programs buffering to align.

          The naked hand glows weirder in the foreground. Mastered by Ghost Sounds. Black vinyl LPs housed in custom silkscreened sleeves designed and printed by Daniel Luedtke. Edition of 397.

          Delroy Edwards takes a break from the molasses grooves of his vapey "Slowed Down Funk" mixtapes to drop a three tracker of serious house energy on his Gene's Liquor imprint. Alongside the huge piano vibes of the classic vocal cut "Always", Delroy delivers two rough and bumpin' floor shakers packed with raw funk. Since the young producer burst onto the scene with the killer "4 Club Use Only" on Ron Morelli's L.I.E.S. imprint he's hit us with a variety of tough, rough and pounding cuts mostly on his own LA Club Resource label, finding a niche in the market for super hard Dance Mania repping filth. Now while that's all well and good, only the brave and badass can play those cuts, so it's good news for the rest of us that he's found his groove on this Gene's Liquor 12". "Can U Get With" opens proceedings with a rattling, lolloping beat, G-funk lead line and 'ardcore chipmunk vocal, totally nailing that, "Wait a minute, didn't I have this on tape way back when" vibe and getting all the asses shaking on the dancefloor. From there we move into rave territory with the hard hitting "Always (Edit)", which evolves a one note bassline intro into a massive hands in the air piano tune! Last but not least, "Untitled" does it's thang across the whole of the B-side, picking up where "Can U Get With" left off in the land of tape saturated US house. Twinkling piano samples sit nicely within the stampeding drum pattern, while the smooth bassline tickles your toes into action, getting you loose and limber for a big response to the vocal sample. Delroy's back with his best work to date, for use in clubs of any size.

          FYI Chris

          No Hurry / Juliette

          More fresh sounds from London's hottest borough, as FYI Chris, usually found pulling out tunes at Peckham's Rye Wax, hits us with some killer jams of his own making. This floor filling 10" sees the up-and-coming producer serve up two different flavours of body moving house, inspired by soudns from either side of the Atlantic. On the A-side, "No Hurry" blends the light and lithe grooves of Jack J and the Mood Hut massive with the rough and soulful stylings of a classic KDJ. Chris pours his heart and soul into some deep rhodes chords, while his MPC beats swing away perfectly. As we head into the first break, a killer bassline takes control of your motor functions and makes you dance like a loon til the last beat. Flip the disc for the UK vibe of "Juliette", a deep and bassy house cut accented with high pitched vocal snippets, 909 bells and toms, which is already doing the rounds with the biggest names in the current wave of UK house DJs. 


          Ghost Culture

          Guidecca - Factory Floor Remix

          Phantasy Sound don their jolly red suit and white beard (*pictures Erol in full Santa garb* - Hurrumph!) and take the company sleigh round the globe to dole out this strictly limited present to only the luckiest boys and girls out there in vinyl land. The gift in question is a single sided remix of Phantasy's star in the East (London), Ghost Culture, by machine master Gabe Gurnsey of Factory Floor. The hardware expert bangs Ghost Culture's sleek synthwave original at the end of his assembly line and flips the conveyor belt into reverse, splitting the original into an extended edition of glitchy and splintered post-industrial tech-house monster. As the track nears its peak, Gabe strips it back to an assortment of warped (and Warped) vocal chops and prickly ketno sequences. I've not heard disembodied wonk like this since those glory days of passing out upstairs in Sankeys while Holden held court. 


          Killer reissue of some fully loaded heat from our Kelli, originally released back in 2002 on Acacia. The solid EP sees Ms Hand in full-on house mode, providing four extended treats for the real jocks out on the front line; I'd say two copies is a must on this one. A-side opener "My Love" is a stomping, stripped back, peak-time killer that's all heavy drums, trippy synth sounds and a lusty female vocal, which is already getting our own Kickin Pigeon shaking a tailfeather in the office. Smoothed out vocal cut "Without You" follows on without missing a beat, getting right in the pocket with rough beats, a rolling disco bassline and slick horns. The B-side opens with "Remember When", an epic, string laden banger that locks you into some real house hypnosis. Finishing out the EP is "Want U Back" a pacey, organ driven 90's style house jam laced with vocals and samples in true big room fashion. Kelli's in full effect on this one, going in hard with four no nonsense, straight to the floor killers.


          Heart Kill Giant

          Diamond Concubine / Drive In

          For their latest release ‘Diamond Concubine’, Heart Kill Giant have taken a darker route and further explored their electronica edge of the first EPs. This has given rise to an "acid folk" sound which features a steady, muffled 4/4 kick, pulsing, morphing 303 bassline (on the acid side) and ethereal vocals and reverbed acoustic guitar (on the folk side). On the flip we're treated to another brand new track, ‘Drive In’, which offers a super slo-mo dub / industrial techno sound (a fluid 303, clanking metallic echoes), before evolving into an electronic cinematic nightmare with creepy ice cream van / music box tones. Both tracks have been produced by Johnny Aux of Paranoid London.


          Hercules & Love Affair's anthemic house smash "Do You Feel The Same?" has slayed dancefloors from NYC to Ibiza over the past few months, and now the our favourite dancefloor divas have enlisted a couple of remix heavyweights to add their own magic to the track. First up we get two versions, vocal and dub, from house legend and garage pioneer Todd Terry. The veteran producer injects a trademark swinging garage rhythm to the track and gets to work chopping and dropping those vocals to create a sleek and deep groove that'll get any dancefloor jumpin'.  Rather than transforming the track completely, and losing some of that mainroom magic which made the track stand out in the first place, Terry chooses instead to add elements and rework the arrangement, putting his own spin on the track and turning it into something even more peaking! For those who like to take the dancefloor deeper, the sparse and bass driven dub mix will be just the ticket. On the flip, Scotland's masters of the deep, slo mo house groove slip into a coastin gear with a deep and expansive remix which gradually evolves in their trademark style. The hypnotic combination of simple percussion and the rippling sequence from the original hold court over the first half of the track as Craig and Graeme delay the bassline until the vocal drops in the second half, delivering a masterclass in the tension and release style of production. It's another classic from the low bpm experts!


          Holdie Gawn / Micawber

          Vimmes / De Jure

          As 2014 comes to an end, the irrepressible London based duo is closing the year with yet another split EP. On the A-Side we have ’’Vimmes’’, a low-slung groove, Villalobos-friendly with percussive textures that expand gradually and steadily, evolving along shadowy soundscapes and intricate rhythms. It’s a fine example of Holdie Gawn’s personal style, stripped back grooves moving along melodic tones and sound design. Micawber on the other side offers a shuffled up house track under the name ‘’De Jure’’. Syncopated synth lines, huge bass plumes, lush pads and melodic textures make this an warm, lush early morning electronic affair. I gotta love this label, seven releases in and remaining true to their original style. These are cuts for loooong sessions, ideally suited to the Berlin lifestyle where going out on a Sunday morning doesn't always mean picking up the Sunday papers. Druggy, minimalist (but not minimal) and perfect for working DJs. Surely Villalobos' UK label of choice?

          Inspired by a number of conversations between director Yann Demange and music producer David Holmes, the majority of ’71’s score was created before the film was shot. Yann likes to shoot with music already written - an idea that resonates with the collaborative work of Sergio Leone and Ennio Morricone. With reference to Can's, David would describe the emotion, tone and atmosphere of the scene with the other band members before recording and then editing to picture after. He says “It frees your imagination to try and capture a world that only you can see and feel but in total relation to the directors overall vision. Living in Belfast for most of my life was also a big inspiration.” Musically influenced by John Carpenter’s ‘Assault From Precinct 13’ and ‘Escape From New York’, John Paul Jones’ ‘Four Minute Warning’ and Tony Conrad’s ‘The Pyre of Angus Was In Kathmandu’, the music pulses with the tension and potential terror of war-torn Belfast streets in 1971.

          FORMAT INFORMATION

          LP Info: Limited edition numbered vinyl with download card.

          New York, early 90s, the heyday of the New York and Jersey clubhouse! With labels such as Nu Groove, Nervous, Freeze, Strictly Rhythm, Henry Street Music taking all the spot light, there is Jovonn working on a small but sensational catalogue of music that somehow gets overshadowed by the popular releases on the mentioned labels. The honest productions, jazzy melodies and playful vocals (rooted in gospel) were taking things into a more musical, more spiritual way, lacking gimmicks or dispensable samples. For the real diggers, the true lovers of House music Jovonn always was a name to watch, a producer of some of their favorite NY house tracks, tracks that have a raw edge combined with a sincere human touch and pure underground house vibes. People such as Rex resident DJ Deep was a huge fan, and also collaborated on couple later productions with Jovonn. Slowly he started getting recognition from europe which resulted in a handfull of records on European labels such as Distance, Coco Soul and Estereo. Now after almost 25 years since his first release the man's small discography on his own Goldtone label and Emotive records stand out with his unique musical personality. More then 20 years after their original release dates these tunes are still very relevant and stand for many things we love about house music!


          After a two year break from the longer format, synthetic house veterans Juju & Jordash return to Dekmantel with their fourth LP, "Clean Cut". The nine tracker sees the duo fully embrace the album format, creating a tight tapestry of emotive and danceable sound that reveals more detail and depth with each new listen. Textures range from organic and lush to synthetic and arresting as deep-space serenity gets juxtaposed with more urgent and alien paranoia. The terse rhythm of the title track puts us on the dancefloor from the off, as Juju & Jordash launch us into the galaxy with cosmic synthlines, glacial pads and rattling rimshots, before cutting the boosters and letting us float free in zero gravity with the classic deep house of "Schmofield". "Whippersnapper" and "Swamp Things" follow, combining the organic melody of marimba lines with Belgian techno leads, detuned drones and ambinet textures. "Deadwood City" takes things right back to the dancefloor with its bumping kick, array of stuttered vocal samples and deep house keys, while "Maharaja Mark" and "Wheeze Please" embrace skewed synthwave and off kilter techno respectively. As we reach the final side of vinyl, "Anywhere" sees the duo offer their take on Torn Hawk's hazy new wave stylings, combining sweet coastal synths, guitars and vocals with a narcotic bassline and uneasy drums. Closing the album out in expansive fashion is the operatic sci fi nebula of "Eventide", a deep, futuristic and spiritual journey into the eerie surrounds of deadspace.


          Ariel Kalma

          An Evolutionary Music (Original Recordings: 1972 - 1979)

          'An Evolutionary Music (Original Recordings: 1972 - 1979)' compiles unreleased recordings from the archives of multiversal artist Ariel Kalma. Concerned as much with musicality as spiritual facility, Kalma’s work vibrates aside fellow travelers along the great rainbow in curved air of the 1970s avant-garde. Ariel Kalma’s boundary-blurring electronic music is heard here in radiant detail across a selection of work spanning his early free-jazz and spoken word trips to his infinite modular synthesizer and analogue drum machine meditations. Kalma’s story is one of world travel, musical discovery and ego-abandonment. Yet for an artist who often discarded public recognition in favor of the ascetic truths in music making, 'An Evolutionary Music' offers the imprint of an outright auteur.

          Born in France, but rarely in one place for long, Ariel Kalma’s 1970s migrations took flight through the decade’s furthest spaces of musical and spiritual invention. As a hired horn for well-known French groups, the young musician toured as far as India in 1972, a place where Kalma would learn circular breathing techniques enabling him to sustain notes without pause against tape-looping harmonies configured through his homemade effects units. Those effects evolved from Kalma’s loyalty to a beloved dual ReVox set-up - two tape machines “chained” together to form a primitive delay unit. Over looped saxophone melodies, Kalma would mix in all shades of polyphonic color, synthesizing fragments of poetry with ambient space or setting modal flute melodies to rippling drum machine patterns and starlit field recordings.

          In France during the mid-1970s, Kalma was staffed as a technician at Pierre Henry’s legendary Institut National Audiovisuel, Groupe de Recherches Musicales (INA GRM) studios - the same music concréte laboratory that spawned masterpieces by members Luc Ferrari, Iannis Xenakis, and Bernard Parmegiani. Like his predecessors and colleagues at INA GRM, Kalma’s relationship to sound was both formal and non-hierarchical. To Kalma, all music existed as related universal patterns, in perfect harmony with the people, places and environments it was created. Kalma’s recorded output of the 1970s culminated in the now scarcelyavailable Les Temps des Moissons (The Time of Harvest) in 1975 and Osmose in 1978, a masterpiece of birdsong exploration. Osmose is double album featuring sculptor Richard Tinti, who had supplied Kalma with hours of field recordings from the rainforests of Borneo.

          'An Evolutionary Music' harvests uncatalogued music made between Kalma’s private press records and onward through the many small-batch cassette releases Kalma would tender. With this collection of musical hybridity and distinct genre-corrosion, Ariel Kalma’s righteous bucking of both popular music trends and the academic tenets of the avant-garde falls squarely in the spirit of other renegades of sacred new-music such as Terry Riley, La Monte Young, and Charlemagne Palestine.

          Kiasmos (Ólafur Arnalds And Janus Rasmussen)

          Kiasmos

          Ólafur Arnalds and Janus Rasmussen finally release their unique Nordic electronic sounds in album size

          After dropping several tracks and performing at select festivals throughout the years, Ólafur Arnalds and Janus Rasmussen dedicated the year 2014 to explore the area in-between Ólafur’s more acoustic, piano-based solo work and Janus’s synth-heavy electro pop, with their collaborative electronic project Kiasmos.

          By focusing solely on their self-titled debut album, Ólafur and Janus have been able to combine and further develop their unique sound aesthetics to complete an album driven by their mutual love for electronic music. Made in Ólafur’s newly build studio in Reykjavík, Iceland, a majority of the album was recorded using acoustic instruments next to a variety of synthesisers, drum machines and tape delays. It features a live drummer, string quartet and Ólafur performing on the grand piano, producing an ambient, textured sound, which makes it a perfect home listen and equally danceable record. If you listen closely, you can spot them record the thumb piano, finger snapping and even the sound of the metal grinder of a lighter slowly to replace the usual electronic hi-hat sounds, giving the album a far more intimate and unique atmosphere.

          “We decided to start almost completely over with this record, so most of the material is written this year with the idea of making a record that can stand as one piece rather than a collection of songs. I am very excited to get a proper record out exploring a different territory than I am used to. I touch a lot on electronic genres in my own music but never have the opportunity to go full out electronic like we do here.” – Ólafur Arnalds

          “The Kiasmos project has been around since 2007, but because of all our other projects we never really got the time to sit down and write all the tracks we always wanted to. So when we early this year finally found the time to sit down and make a full length album there was so much we wanted to try out. The result surprised us a bit, it's deeper and more emotional than we imagined it to be, but that's the beauty of being able to make an album.” – Janus Rasmussen

          Long-term Erased Tapes graphics collaborator Torsten Posselt at Feld Studios in Berlin created the cover artwork. Feld Studios was a natural choice for Kiasmos, seeing he also designed the cover for their Thrown EP, released previously.

          Kiasmos is made up of Icelandic BAFTA-winning composer Ólafur Arnalds, known for his unique blend of minimal piano and string compositions with electronic sounds, and Janus Rasmussen from the Faroe Islands, known as the mastermind of the electro-pop outfit Bloodgroup. Based in Reykjavík, Arnalds used to work as a sound engineer, often for Rasmussen's other projects, where the two musicians discovered their common love for minimal, experimental music. They eventually became best friends, often hanging out in their studio, exploring electronic sounds.

          Suzanne Kraft

          Tracks For Performance

          The inaugural release for the label offshoot of Australian radio show Noise In My Head, "Tracks For Performance" serves up two new tracks from LA-based anomaly Suzanne Kraft. Originally conceived as a contemporary dance score, these proven body movers are some of the producer's toughest work to date. "Dead Ringer" opens proceedings in atmospheric style, marrying the snake charming mysticism of esoteric jazz clarinet with the hollow racket of a metal works factory. Almost beatless, this eerie opening merely lulls us into a false sense of security, as soon enough a warehouse shaking bassline and solid drumbox groove transform "Dead Ringer" into a full on jacktrack. On the flip, "Ruff Bathers" is rather more what we're come to expect from Kraft, as calming drones and subtle melodies settle into a synthetic groove. Cinematic and atmospheric with those cool eastern melodies, it's the LA producer's take on Japan's "Tin Drum". If you're the kind of cat who likes to get people dancing in peculiar ways, then this two tracker is for you. 

          Lamb

          Backspace Unwind

            Lou Rhodes and Andy Barlow understand difference more than most. They're the first to admit that when they got together their diametrically opposing aesthetics - Lou's devotion to The Song, Andy's obsession with all things beats-driven and electronic and his complete disinterest in vocals - created problems. But those differences also bred a mutual respect and resulted in one of the most genuinely genre-bending dance albums of the mid-90s.

            And so to 2014. Earlier this year Andy and Lou returned to the studio to write and record the sixth Lamb album 'Backspace Unwind'. "Making this album has been a journey of discovery in so many ways", says Lou. "After making music together over a period of almost 20 years (with a 5 year hiatus to take a breath) it's reassuring that new routes and approaches seem to abound. Over those years I think we've learnt that this journey needs no map; in fact tearing that map up, at every twist and turn, has become our regular gleeful practice" Most of the record was written and recorded at Andy's studio "The Lookout" - so named because of its panoramic views over the South Downs. The album contains 10 new songs written by Andy and Lou with four featuring string arrangements by Tom Trapp, who also conducted the string section for the recording session.

            Musically we're treated to crisp electronica, tech-house and downbeats, sweeping orchestral passages and, as ever, Lou Rhodes fragile, folk-tinted vocals centre stage.

            Lubomyr Melnyk

            Evertina

            Erased Tapes first introduced Lubomyr Melnyk and his unique continuous music technique to a wider audience with ‘Corollaries’, an album produced by Peter Broderick in 2013. Now he returns with a 24-minute mini album entitled 'Evertina'. Featuring three newly composed solo piano pieces, the long-form EP showcases another side to Lubomyr Melnyk – his more gentle and melodic work.

            In 2012 Lubomyr's ears began to notice the remarkable tonal depth of upright pianos. To Lubomyr the upright piano sound is like a natural forest of microcosmic colours. 'Evertina' and 'Awaiting' were created on a middle-aged upright piano at a friend's home in New York in October 2012 – just before Hurricane Sandy hit the city. Some children were listening to Lubomyr as he played in a hotel lobby in Cologne and 'Butterfly' is the piece that he made for them. It was recorded on a battered grand piano somewhere in Switzerland in late 2013, with the lid closed down to soften the effect.

            "The piano for me has so many different faces, so many personalities and wonders, it is like life itself, ever-changing yet always holding to a permanence of beauty. Like butterflies that never fly in a straight line but always carry their loveliness with them in their multi-angled paths. I want people to hear these pieces, that are always hidden from the world. I keep them locked away in a quiet place, far from the concert hall. Why do I do that? I guess it is because they are so easy to play, so effortless, I can do them while sleeping. Whereas my more demanding abilities on the piano come out in the forceful nature of continuous playing. There, the new ground is being broken and a new door is being opened for the world. But that does not mean that I am bound by nature or by god to do only continuous music. My heart moves into these pieces just as it moves into the continuous modalities. So here, for the very first time, I am bringing three of these little miniatures to the public view. May everyone enjoy them for their gentle simplicity and quietude.

            These three pieces fit so nicely together in spirit, they present a tableau, a tiny triptych that can reach the world without waiting for a major work, they stand beautifully on their own, and do not need an album to surround them with comfort and padding. No, they are what they are, and a short musical interlude as this record gives, is just perfect for their nature." – Lubomyr Melnyk

            Lubomyr Melnyk is a true innovator, exploring new directions for contemporary music. Classically trained and greatly affected by the minimalist movement in the early 1970s, the Ukrainian pianist developed his own unique language for the piano, named after the principle of maintaining a continuous, unbroken stream of sound. Melnyk has shown a remarkable devotion to the instrument, always striving to discover new ways of composing music in the continuous mode. His focus is on the actual sound of the piano as much as the harmonies and melodies of the music. Playing rapid and complex note patterns made Lubomyr one of the world’s fastest concert pianists. His virtuoso piano technique forms overtones that blend, collide or even create new melodies in rare moments, and thereby shape the composition beyond its original form. To accomplish this requires a special technique, one that has taken Melnyk many years to master. To witness one of his rare live performances is nothing short of a mind-opening experience.

            FORMAT INFORMATION

            Ltd 10" Info: Limited edition clear 10" vinyl includes album download.
            With gilded typography.

            Mutant Beat Dance

            Polyfonikdizko

            The hardest, deepest and most uncompromising duo in the acid house world are back with a strictly limited DJ use double header in a gorgeous screened sleeve. Don't let the beauty of the sleeve lure you into a false sense of security, Traxx and Beau Wanzer are here to put the frighteners in you big time on their latest Mutant Beat Dance collaboration. Inspired by the early days of house music, the wild nights at the Muzic Box after way too much PCP and the endless nights of frenzied acid flashbacks. The hardware obsessed two piece like to call this Jakbeat, and I'm not gonna disagree. "PolyfonikDizko" opens in classic acid fashion, with a disjointed female vocal phasing in and out of a swirling bass sequence and steady machine rhythm. Over the course of the next half hour (or seven minutes) prepare yourself to get lost in the dark dream world of this hypnotic groove, textured with subtle variations as envelopes and gates are opened and closed, white noise drones blow through the mix and the percussion builds into a thunderous roar. On the flipside, "Stress" trades deepness for upfront dancefloor energy, as the duo deliver an irresistible jacker that's certain to get your body moving on the one. The head noding sequence is topped by backmasked vocal samples, detuned synthlines and offbeat drum fills, keeping the floor moving and grooving in preparation for the far out acid excursion of the second half. If you thought they didn't make 'em like this anymore, then think again!


            Ooof! After one of Detroit's finest sons blew us away with a sneaky Christmas release late 2013 (Kenny Dixon Jr's excellent "Moodymann" LP), his fellow Chair looks set to do the same this time round. The hugely anticipated follow up to "Sound Sculptures Volume 1" is here and it's well worth the wait. On this album Theo fuses jazz and soul with electronic production, intricate rhythms and his trademark arrangements to make a record which sounds both futuristic and grounded in the past at the same time. Featuring some of Parrish's most experimental rhythms (but not quite as experimental as "Dance Of The Medusa") "American Intelligence" seems informed by the producer's recent experience as a live performer. You have to take your hat off to Theo, twenty years into his career and he's still pushing boundaries way further than his contemporaries. Our hat is well and truly doffed.


            Itinerant producer Portable finds himself settled in Berlin for the time being, and the stark and wintery surrounds of Kreuzberg have certainly made an impact on his productions. His latest release, "Surrender" is a heart breaking journey through through the crisp leaves of December's first frost. Fusing classic songwriting with flawless house production, Portable lays his emotive vocals over a piano led taste of dancefloor music at its most melancholic. Syncopated rhythms and serene flute compliment Lcio's vocals perfectly as we're given a snapshot into that relationship you just can't leave behind, despite your better judgement.


            After seducing us with some late night boogie sounds last time out, Inkswel & Benny Badge's Hot Shot Sounds invite Quaid to take us on a trip to a futuristic metropolis where the cars fly, thought is the only form of currency and NYC sits submerged beneath the Atlantic Ocean. On this perfectly realised mini-LP, the producer serves up the cyclical sounds of slipstream funk, the proto-house inspired sounds of a red light district dive and malfunctioning hardware jams from the archive of the cybernetic broadcast system; and that's just on the A-side. The flipside tackles sci-fi tinged heavy boogie, Prince-styled future gospel and a smokers groove perfect for whatever narcs they take three centuries from now. While I'm disappointed that we don't have robot suits, this is still a future I'd happily live in.


            Red Rack'Em storms the Wolf Music offices, global mainrooms, record shops and NATO conference with this latest EP of raw and raucous sampler bashing house! For A-side cut "Do Or Die", the Nottingham producer smashes his MPC into smithereens, cutting up a disco sample I've sadly forgotten and pushing the tempo through the roof in Soundstream fashion. But Danny's his own man, and soon enough the whole thing breaks down into a filtered, beat repeated mess of narcotic swirl. It's at this point Danny decides to flip the script, injecting a huge hit of hardware funk into the track, thanks to detuned keys, a subby baseline and massive pads. Disorienting but danceable, this is one of those brilliant "What the fuck just happened?" club tracks. Flip the disc for the beatdown groove of "Ooh Ooh Ooh", a late night trip through blissed out jazz loops, swinging drum machines and a Oizo (!) bassline. You've gotta expect the unexpected when it comes to Red Rack'Em. Last been not least, curtain call "Live At The Music Hall" is straight up deep house in a Detroit style. Following the same pads, rhodes and crowd noise pattern as KDJ's "Tribute" or a Rick Wade classic on Harmonie Park, this slow burner will work wonders on the floor. 


            NDATL back on top form with Stefan Ringer aka REKchampa making the starting lineup. Featured at last year's NDATL's annual DeepDetroit party "The Fix" was a highlight. The unique chord structure, intricate leads and shuffling drums keep the crowd enthralled until a well placed breakdown allows a breather. Kicking back in full throttle the track rides that jazzy house wave beautifully till the very end. Stefan's diversity is further shown in the fluttering bliss cloud that is "IFY", featuring a duet with vocalist Afua and epitomising that beatdown flavour that Amp Fiddlr and Recloose did so well; gorgeous soul music with a modern twist and oh so sexy with it. "Meagangood" recalls the jazzy house tracks off Garth Be's (Piccadilly #2 album of 2014) "Seven Movements" - enough of an accolade in itself. "MYM" deploys a New York flavoured sound palette across more shuffling rhythms, cementing Stefan Ringer as a bringer of the funk! This one has Peacefrog written all over it, funky bass, hats shuffled to the point of collapse and glorious lead melodies; all mixed with finesse and style. "Transitions" concludes the EP (more like mini-LP) with an introspective, deep take Ringer's synonymous style. Echoed and pitched up vocal snippets cascade through the mix as a squashed kick keeps us moving forward and the track gets swamped with gloopy, shaded elements. Great stuff.



            Secret Pyramid

            The Silent March

            Originally released in 2011 on cassette by the Canadian micro-imprint Nice-Up International, The Silent March is the precursor to 2013’s Movements of Night and can be viewed as something of a mission statement for Amir Abbey’s skyriding Secret Pyramid project. Critics have compared the Secret Pyramid sound to the more blasted entries in the Popul Vuh catalog and to Flying Saucer Attack’s cherished fuzz devotionals, and indeed Abbey’s reverb-drenched songforms and titanic edifices of drone do feel at times as though they’ve been cut from the same cloth.

            Opener “Outside” might be best understood as the soundtrack to slow-motion video footage of a first-person plunge over some impossibly grand waterfall on an endless loop, as tumbling overtones fight for air among turbid plumes of distortion. “Still Return” finds acoustic guitar figures struggling to escape a blinding mist, their resolution finally arriving in the form of the sublime tranquility of the titular track which follows. Abbey weaves themes of birth, death, nostalgia and existential dread into an album as cohesive as it is all-consuming, a spell that seeks to simultaneously welcome and protect against darkness in its many forms. This edition of The Silent March features an improved mix-down by Abbey and a remaster by James Plotkin to insure maximum transport.

            Secret Pyramid

            The Silent March / Movements Of Night

            Students of Decay presents a specially priced double-CD issue of Secret Pyramid’s two albums, The Silent March and Movements of Night.

            Originally released in 2011 on cassette by the Canadian micro- imprint Nice-Up International, The Silent March can be viewed as something of a mission statement for Amir Abbey’s skyriding Secret Pyramid project. Critics have compared his sound to the more blasted entries in the Popul Vuh catalog and to Flying Saucer Attack’s cherished fuzz devotionals, and indeed Abbey’s reverb-drenched songforms and titanic edifices of drone do feel at times as though they’ve been cut from the same cloth. Abbey weaves themes of birth, death, nostalgia and existential dread into an album as cohesive as it is all-consuming, a spell that seeks to simultaneously welcome and protect against darkness in its many forms.

            2013’s Movements of Night finds Abbey further develop and refine the haunting, faraway sound-world that earned the aforementioned release well-due praise. Deftly navigating the properties of sleep and unconsciousness, Abbey charts a course that is equal parts harrowing and funereal, tranquil and sublime. Juxtaposing the everyday with the obscured, the half-there melodies and arcs of hazy guitar histrionics dissolve into a more familiar, tangible atmosphere in which radiant drones are tethered to a driving bassline. With Movements of Night, Abbey casts his net into the abyss of the unconscious and returns with a potent paean to the dreamworld.

            Sneaky Tim

            What's Your Function Pt.2 - Inc. Ricardo Villalobos & Heiko / Sky Remixes

            Chiwax presents the 2nd part of Sneaky Tim's legendary "What's Your Function" release. This time round we get the second remix of "Mental Kombat" from Ricardo Villalobos & Heiko MSO alongside a Sky mix of said track and "Bad Connection". Villalobos & Heiko's 'Sneaky Dub' does exactly what it says on the tin - combines sounds, grooves and elements from both producers powerful arsenal and gets all sneaky with it on the dub! Those familiar with Villalobos' style will instantly recognize the creeping drums, blurred vocal utterances and bleepy, hard-to-find groove which epitomises his style. Here we're treated to a lovely extended trip (does he do short tracks?) which teases us endlessly with fractals from the OG. Sky stays truer to the original vibe with a pounding take on side B complete with searing strings and flapping hi-Qs.  Proper twisted tackle! "Bad Connection" concludes the set and keeps to the frenetic flavour of the former; unloading a suitcase full of vintage drum machines and subtle acid elements to create an unrelenting steamtrain banger for the floor! Move quick on this one folks!


            Taking its name from the address of Ron Hardy's seminal Muzic Box club (326 N. Michigan Ave, Chicago) 326 was a short lived project from one Dion Williams, ably assisted by the legendary Armando Gallop and Mike Dunn who lend their mixing skills and individual styles across the breadth of the entire record. "Falling" came out in 1989 on Steve Poindexter's cult Musique imprint and ticks all the boxes as far as cult Chicago House records go. All 5 tracks ooze classic lo-fi house grooves, driving analog drum machines, repetitive, trance like pads, disjointed voices and those seedy late night vibes that we have all come to know and love. Another long lost slab of Chicago goodness, brought back to life, re-mastered, re-issued and re-pressed in conjunction with Steve Poindexter / Muzique Records, Chicago USA.


            Unknown Artist

            Lady's In Trouble / Night Train

            'Lady's In Trouble' should connect with Ariel Pink and Connan Mockasin fans, and hopefully beyond as the songwriting has a timeless feel. Very Arthur Russell in terms of voice and storytelling, particularly the 'Love Is Overtaking Me' collection. 'Night Train' is a dancier cut from the (forthcoming) album. It's a bit Hot Chip, or Tonetta (if anyone's familiar with the reference) in it's lo-fi erotic disco-house ambitions.

            Unspecified Enemies

            Everything You Did Has Already Been Done

            OOfft! Now that's what I'm talking about! Pure PRESHA from our favourite brand of up-to-date club tackle, Numbers. Unspecified Enemies return to the label with this ginormous 12" "Ms. 45" mixes the best bits of Marcus Mixx, Jamal Moss and DJ Haus into an unstoppable frenzy. A wrecking ball of wall shaking mayhem, exercise extreme caution when dropping this out in the field. "Chip Mode" works a plethora of Dance Mania / bootybass samples through the mangler at about 150BPM, transforming them into a crazed collage of pumpin', jumpin', workin', thumpin' sound bites that should attack the floor with a purpose. "Liquid Floor" unlocks the door to vintage 90s techno as a classic vocal refrain is looped up across a pummeling rhythm section bringing to mind Dave Clark at his unquestionable best. Heady, unrelenting and purpose built for excessive smoke and strobe abuse come 4AM in the morning. "Lifestyles Of The MiniDisc Era" closes proceedings in experimental form, concentric, circular beats wrapping around a wonderful mélange of tape artifacts, jarred beats and distant vocal murmurings. A breathtaking EP - quite literally; knocked the wind right out of me it did. Great stuff!

            STAFF COMMENTS

            Matt says: Uncompromising stuff from an uncomprosming label. Numbers have done it again. Showcasing the future of the dancefloor before you've even danced on it.

            The Wire

            Issue 371: January 2015

              2014 Rewind
              The Wire’s review of the last 12 months in underground music and audio culture, with 30 pages of charts, essays and reflections from critics and musicians guiding you through the releases, trends and debates of 2014

              Rie Nakajima
              Object lessons from the Japanese sound artist. By Abi Bliss

              Unplugged
              Serbia’s last leaf players. By Nick Cain

              Mette Rasmussen
              The Danish saxophonist joining forces with Chris Corsano. By Daniel Spicer

              Divine Styler
              The return of the psychedelically inclined rapper and producer. By Joseph Stannard

              Global Ear - Bratislava
              The ZVŮK festival in Slovakia puts sound art in unlikely settings. By Jakub Juhás

              Cross Platform - Emeka Ogboh
              The field recordist tunes into the chaotic frequencies of Lagos. By Clive Bell

              Invisible Jukebox - Alasdair Roberts
              The folk singer and songwriter is left reeling by The Wire’s mystery record selection. Tested by Stewart Smith

              The Inner Sleeve
              Bob Stanley on Marianne Faithfull’s Come My Way Epiphanies
              Memory, loss and the passing of time are evoked in sound for Renée Green

              Print Run
              New music books: 90 Degrees Of Shade edited by Stuart Baker; The History Of Rock ’N’ Roll In Ten Songs by Greil Marcus; Splitting In Two: Mad Pride And Punk Rock Oblivion by Robert Dellar; Peter Christopherson Photography by Peter Christopherson; Bright Lights And Cats With No Mouths: The Art Of John Balance by John Balance, edited by Liam Thomas and Thighpaulsandra

              On Screen
              New films amd DVDs: pirate radio film Drowned City and Eddie Prévost’s Blood

              On Site
              Recent exhibitions: The Mechanical Garden And Other Long Encores and Sound :: Gender :: Feminism :: Activism

              On Location
              Recent festivals, gigs and clubs: Shabazz Palaces, Brighton, UK; Glassfest, Bristol, UK; Unsound, Krakow, Poland; Abdullah Ibrahim, London, UK; Hassle Fest VI, Somerville, USA

              Gilles Peterson and Brownswood Recordings return with the latest instalment of the much loved 'Bubblers' series... 'Brownswood Bubblers Volume 11'.

              Known as something of a musical clairvoyant Gilles Peterson has built an unparalleled reputation for unearthing hidden gems and new and exciting talent over the course of his amazing career.

              'Bubblers' has established a great reputation over the years for providing a platform emerging talent from the Worldwide underground. Bubblers Alumni include. Flying Lotus, Tall Black Guy, Mayer Hawthorne, Lone, Bullion, Floating Points & Fatima, New Look, Dam Funk, Jamie Woon, Electric Wire Hustle, Flako, Nick Mulvey, Submotion Orchestra and many many more.

              We're treated once again to another typically wonderful and eclectic 'Bubblers' selection of soul, jazz, (electro)funk, hop hop, house, wonky beats and more.


              Grab yer pith helmet and flak jacket, we're heading into a warzone with the inaugural offering on new label Contort Yourself. No label named after a James Chance And The Contortions was ever gonna trade in easy listening, but this various artists EP deals in the pitch black end of the dark wired sound. Parrish Smith opens the EP with "Revolution Will Always Be Televised", a synthesised goth recital which retrofits the Suicide / Fad Gadget mantra with a corrosive acid line. Filling the frequencies out with groaning chants and ceremonial drums, this little horrorshow could soundtrack a mass murder. Far from forgetting their roots, the Glasgow label follow Smith's acid assault with a trio from Italian EBM pioneers Pankow, including a remix from Golden Pudel resident Helena Hauff. The two original tracks, "Das Vodkalied" and "I'm Food For You" both featured on the group's 1983 cassette LP, "Throw Out Rite", and showcase two different sides of the EBM sound. "Das Vodkalied" is an uptempo but downcast stomper based around an ever changing drum sequence, chopped and scuffed vocals and the occasional blast of pounding synth. On the other end of the (admittedly small) spectrum, "I'm Food For You" pushes the synth sequence to the forefront and replaces, strips the drum machine back and opts for the kind of sung / shouted vocals DAF employed so frequently. For her remix of "Das Vodkalied", German acid expert Helena Hauff straightens out the beat a little before layering additional synth melodies and bass heavy drones on top of that snarling synth part from the intro of the original. Machine expert Perseus Traxx rounds the EP out with the super deep acid roll of "Get Away", which sees the producer top a rolling acid track with aggressive spoken lyrics. A storming debut from the fledgling Glasgow imprint which is certain to get a spin at the next Barbed Wire Kisses.

              Key players of the Scandinavian electro scene have worked together to deliver a snapshot of their unique sound for Brokntoys04. Luke Eargoggle, Kan3da, Obergman and Rutherford deliver everything from icy electro to downtempo, mournful IDM leanings. Between them, the artists have released on highly respected labels such as Bunker, Abstract Forms, AC and Transient Force. Luke Eargoggle also runs the highly respected label Stilleben. Eargoggle & Kan3da's "Night Smoker" deploys buzzing sawtooth leads across a tough, neck-snapping beat to conjure up a cauldron of pure electro black magic! Kan3da goes solo on "Photoptarmosis", keeping true to the electro spirit with rhythmic analogue artifacts combined with eerie choirs and squelchy drums. Obergman's "Rosetta" should get the mind and body vibrating with all the energy of a strong psychedelic breakthrough dose while Luke Eargoggle returns again with the evil bleakness that is "Ambulance". If your cranium hasn't turned inside out by now, then Rutherford is on hand with "Fördelningspolitik"; primed and ready to unfold all parts of the brain and place them neatly on a worktop ready for re-arranging at a later date. All copies come with an individual screenprinted sleeve and include digital download. Currently garnishing lots of praise from the dark-wave underground - Helena Hauff, Truss, Conforce and Aurora Halal all singing its praises.




              FORMAT INFORMATION

              Ltd 12" Info: All copies come with an individual screenprinting sleeve and include digital download.

              Detroit's heat-seekers pack in another look at what's up. Luckily surfacing on my radar before we let any others slip by (there's only been three so far). The How To Kill collective claims to be occupied by Detroit movers and shakers from the last 15 years! It's also only the second record, to my knowledge, that we've had in the shop to feature 'sludge' - the new Detroit genre taking the energy and sounds of Dance Mania but slowing and skewing them to an more narcotic afterhours type of vibe. Anyway, we'll leave the sludge till later as the EP opens up with wonderful, sublime, "Too Close" by Secrets. Like slo-mo? Like Detroit house? This combines the two to make a superb basement burner which just goes on and on. Someone name that sample please! The Friend offers "Cut" - completely flipping the atmosphere of the previous track and displaying the true power of the sludge blueprint. Vocal chops a plenty, distorted drums and disjointed rhythms the trademark, this isn't a million miles away from some of the output on LIES and will go down equally well with people seeking the dirtier edge of the house / techno spectrum. The wonderfully named Marshall Applewhite gives us two tracks on the B-side. "Muffy" is a pitch black throbber, complete with dark, eerie cascades and crazed vocal chants. Finally "Lionel Joseph" is a lo-fi acid workout, the type that'd make Hieroglyphic Being wet his pants! Chicago and Detroit are continuously swapping the crown of king of acid trax, but along with Jared Wilson, How To Kill are bringing home the bacon in Detroit's favour at the moment! Fresh gold from the Michigan underground. Highly recommended.

              Celebrated ambient artist John Beltran jointly release not one but two vinyl compilations on Delsin Records in association with his own Dado label. The compilations, named 'Music For Machines Part 1' and 'Part 2', take the form of two vinyl LPs. Michigan born producer Beltran, of course, has released countless legendary EPs and LPs on labels like Peacefrog, Carl Craig's Retroactive and Belgium's R&S. His music has been licensed to high profile HBO TV series and a number of films, and pulls together elements of jazz, world music, organic soundscapes and electronic textures into compelling listening experiences. Most recently this came in the form of his "Amazing Things" album in 2013, whilst his career spanning "Ambient Selections" from 2011 is still a vital listen. Part 1 of the compilation pulls together new and exclusive tracks from the likes of Winter Flags, Blair French, David Elpezs and John himself. The album opens up with the found sound lushness of 'Winterfall Winds' before naturally unfolding through Reinehr's wintry harmonics and the crowning glory of Beltran's own titular track, which is a moving bit of textured modern classical music that sooths your mind, body and soul.

              Various Artists

              John Beltran Presents Music For Machines Parts 1 & 2

                Celebrated ambient artist John Beltran jointly release not one but two vinyl compilations on Delsin Records in association with his own Dado label. The compilations, named 'Music For Machines Part 1' and 'Part 2', will take the form of two vinyl LPs, with both releases complied together onto one CD.

                Michigan born producer Beltran, of course, has released countless legendary EPs and LPs on labels like Peacefrog, Carl Craig's Retroactive and Belgium's R&S. His music has been licensed to high profile HBO TV series and a number of films, and pulls together elements of jazz, world music, organic soundscapes and electronic textures into compelling listening experiences. Most recently this came in the form of his Amazing Things album in 2013, whilst his career spanning Ambient Selections from 2011 is still a vital listen.

                Part 1 of the compilation pulls together new and exclusive tracks from the likes of Winter Flags, Blair French, David Elpezs and John himself, whilst part two focuses on the likes of Natalie Beridze, Kirk Degiorgio and Vincent Volt. Part 1 opens up with the found sound lushness of 'Winterfall Winds' before naturally unfolding through Reinehr's wintry harmonics and the crowning glory of Beltran's own titular track, which is a moving bit of textured modern classical music that sooths your mind, body and soul. As for Part 2, it is riddled with sumptuous sonic delights like Greg Chin's icy and alpine 'Dashboard Angels' and Mick Chillage's beautifully suspended 'Only In My Dreams'. Vincent Volt keeps things beautifully beachy with his 'Subway Arp' and A2B2C2's 'Stereometry' is a suitably sombre affair that closes the compilation down in style.

                Uncanny Valley and Permanent Vacation are joining forces for an Uncanny Vacation! There has always been a lively exchange between Dresden and Munich and both labels are known for releasing a wide variety of music so it was only natural to team up for a joint release. Very limited copies in beautifully presented, ‘16-bit graphic’ picture sleeve. DMX Krew kicks things off in suitably disjointed form, the electrofunk maestro firing up his analogue gear for an excursion into velcro beats, squelchy acid and twinkling arps on "Astro Logical". Sandrow M provides a druggy Adriatic-flavoured chug on "Prayervan (Live Version); touching on the quirkiness of the Nordic and Italians and reinforcing it with a 'proper' song structure and arrangement. Jacob Korn's "Eieiei" kicks off the B-side with a big ass B-line! Rolling congas + huge bass = massive groove. This is no exception to the rule! Korn works the filters like a pro as he teases in various elements in a Balearic-slo-mo workout of the highest order. Shop favourites Drvg Culture gets suitably narc'd out on "See You Again Someday". I reckon its Quaaludes as the drug of choice however as they slow down an infectiously fine loop, repeat the best bits then let glorious strings and pads overwhelm the mix at select intervals. Delightful stuff, perfect for end-of-night group hugs and stolen kisses by the shoreline. Recommended.


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