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HOUNDSTOOTH

Aïsha Devi

Aethernal Score (Live With The BBC Concert Orchestra)

    'Aethernal Score', Aisha Devi’s commission for the BBC Concert Orchestra, is an attempt to intensify the vibrational capacities of the orchestra and divert the expected course of classical-electronic collaboration. Devi has always used her art to push against cultural presumptions, so it made sense to assemble the initial framework for the piece from some of her acclaimed back catalogue, meshing it with new compositions and reworking everything with orchestral elements that follow Devi's radical metaphysical and theoretical guidelines. It's best described as a twenty-minute "mixtape" that embodies the connections between the concert hall, the club and the sacred ritual - or even a demonstration of the orchestra's hidden potential.

    Inspired by her Himalayan heritage, Devi has been exploring the entrancing sonic application of monastic practices such as throat singing for many years, as well as developing psychoacoustic methods. This led her to perceive sound as a way of expanding brain activity - something that also plays a shrouded role in the world of chamber music. Applying this to the orchestra, she began thinking about each instrument as a discrete frequency range, searching for its ethereal properties rather than fixating on an object saddled with cultural baggage. Using the density, amplitude and vibrational impact of the sounds in unison, Devi was able to summon the club environment, seizing that space's inherent power - Devi was making orchestral rave.


    TRACK LISTING

    1. Spacetime Expiration Binaural
    2. Two Serpents Theme
    3. DNA Morphosis
    4. Aetherave Theme
    5. Graal Interlude
    6. Genesis Theme
    7. Mind Vapor Interlude
    8. Aethernal Binaural
    9. And If You Had Eternity?
    10. Al Kemie March
    11. Neurobytes²
    12. Antigravity
    13. I’m Not Always Where My Body Is Theme

    Hinako Omori

    Stillness, Softness...

      ‘stillness, softness…’ explores a new sonic range within Hinako Omori’s world of analogue synths - namely, her Prophet ’08, the Moog Voyager and UDO Super 6, an analogue hybrid synthesizer that creates binaural, 3Dsimulating sound.

      ‘stillness, softness…’ is “a collage of experiments” which she then pieced together “like a puzzle,” each song representing a memory room.

      The end result is seamless, a continuous cycle of 13 vignettes that flow in and out of each other, recorded and written between her bedroom in London and her grandmother’s house in Yokohama, Japan.

      The album on the whole is Omori’s most accessible yet, and one that evidences her true range as a composer, artist, arranger, vocalist and synth virtuoso.

      ‘stillness, softness…’ sees Omori venture more into the singer songwriter sphere, using organic synth sounds whilst still dipping into the electronic world.

      TRACK LISTING

      1. Both Directions ?
      2. Ember
      3. Stalactites
      4. Cyanotype Memories
      5. In Limbo
      6. Epigraph…
      7. Foundation
      8. In Full Bloom
      9. A Structure
      10.astral
      11. An Ode To Your Heart
      12. Epilogue…
      13. Stillness, Softness

      Scalping

      Void

        Bristol techno, noise and hardcore supremos SCALPING are releasing their highly anticipated debut album “Void”.

        Void comes on the heels of an extremely exciting 2021 for the band, which saw them play to sold-out crowds at the Roundhouse twice in two weeks - both on tour with Squarepusher and at Pitchfork Festival London - as well as releasing two widely acclaimed EPs titled “FLOOD” and “FLOOD Remixed”, the latter of which featured treatments from producers Hodge, Azu Tiwaline, object blue, AQXDM and Laurel Halo, and Scottish instrumental rock legends Mogwai.

        SCALPING are heavy metal in 4D; the sound is moody, distorted and rhythmic, but the use of electronic techniques gives the finer details room to breathe, making more space for experimentation.

        Tracks such as “Tether”, featuring Oakland rapper DÆMON, puts a modern, metal twist on Bristolian trip-hop, whereas album closer “Remain in Statis” features fast-rising artist Grove, a Bristol-based rapper and self-professed metalhead whose commanding presence sets the track alight.

        In the heat and darkness, it’s a swarm of low-end frequencies and ripping guitars, somewhere between Black Sabbath-esque psychedelica and The Bug’s sub-bass headfuckery. Live, the effect is immense. SCALPING play continuously for the duration of their sets, generating a storm of metal-and-techno through a rising beats-per-minute count.

        TRACK LISTING

        1 Blood Club
        2 Caller Unknown
        3 Tether (feat. DÆMON)
        4 Silhouettes
        5 Cloak & Dagger
        6 Flashforward
        7 Desire
        8 Over The Walls
        9 Remain In Stasis (feat. Grove)

        J’Kerian Morgan, the artist known as Lotic says “This is the record I always wanted to write. This feels like my arrival as an artist.” Water, for Houndstooth, is a stunning revelation; a tender meditation on love’s losses and lifeforce, timelines, bloodlines and resilience. Arriving at the end of a period Morgan recalls as, “having to be adaptable, while being dragged through the trenches,” Water adds the haunting quality of siren song to a career already marked by its engaging emotionality. To arrive at Water meant to become like water. Lotic dedicated two years to a deep, intentional process of surrendering to softness, welcoming impermanence, embracing intimate relationships with her environment and self. Yet, to embrace vulnerability is to welcome its totality.

        Water is the complete embodiment of Lotic’s dedicated praxis; one which unpicks a certain narrative about corrosive angst and outlier musicality. Compositions curve around the sub bass of an 808, with vibrations and hums superseding clarity and separation. Drums are softened to a powdery warmth, and each chapter unfolds as a symphonic sound poem. Heartful depictions of love relationships to others and the self, to ancestry and identity, are marked by stunning new expressions of ecstatic voices. Water heals, and it harms. It can sharpen, scald or silently consume. Water is a conduit for human corruption, such as the wrenching cruelty of forced Middle Passage crossings, yet water remains a site of ritual and absolution, a source of constant renewal.

        TRACK LISTING

        01 Wet
        02 Emergency
        03 Come Unto Me
        04 Changes (feat. Julius Errol Flynn)
        05 Always You
        06 Apart
        07 A Plea
        08 Oblivious
        09 Diamond

        Just after the start of lockdown, Hodge aka Jacob Martin released his debut album, ‘Shadows In Blue’, his first foray into the world of the long player. Gaining critical acclaim, and with clubbing on hold indefinitely, the album makes the most of that flexibility, building on his dancefloor sensibilities while making good on the experimental tendencies that have long lain just beneath the surface of his music. Fast forward a further half year and Lockdown 2.0 is in full effect in the UK but this time we want club bangers, a sense of release, the urge to dance. And with this, seven producers, six remixes from a collective of like-minded musicians being let lose to rewire tracks with the club space in mind.

        Manchester via London, DJ and producer Anz kicks things off her Hooover remix of ‘Lanes’, a bouncy rave reduction with an unremitting sense of energy. Bristol’s Facta & K-Lone take on one of the faster cuts from the album, ‘Sense Inversion’. Building on the sound they champion on their killer wisdom teeth label they turn in a melodic and hypnotic remix with a bounce perfect for opening sets. Shanti Celeste offers a master class in groove with her club ready rework in her remix of ‘Lanacut’, while Surgeon uses his trademark big room driving sound on the album’s title track - proper 4am business. AYA’s latest remix sees the Manchester producer flex her production skillz with screwed kicks, next gen sound design and mind gargling synths on ‘Ghost Of Akina’. We end with New York City’s Kush Jones, who closes ‘Remixes In Blue’ with lush strings with a minimalistic footwork print underneath.

        TRACK LISTING

        Lanes (Anz’s Hooover Remix)
        Sense Inversion (Facta & K-Lone Remix)
        Lanacut (Shanti Celeste Remix)
        Shadows In Blue (Surgeon Remix)
        Ghost Of Akina (AYA 2010 All At Once Remix)
        The World Is New Again (Kush Jones Remix)

        Marquis Hawkes

        Social Housing

          Despite an aversion to the spotlight, Marquis Hawkes is one of the fastest-rising names in house music. A string of 12"s for labels such as Dixon Avenue Basement Jams, Clone and Aus preceded a trio of exceptional EPs for Houndstooth, which won him swathes of new fans, from the DJ booth and the radio studio to, of course, the dancefloor. Now he presents his long-awaited debut album, ‘Social Housing’.

          Including a devastating new song with legendary vocalist Jocelyn Brown and contributions from regular collaborator Timothy Blake, the album encompasses the full spectrum of house music, from deep grooves to disco cut-ups, soulful keyboard jams to jacking drum machine workouts. With several high profile DJs already singing its praises, ‘Social Housing’ is set to be the soundtrack for the Summer.

          Akkord

          HTH040 - Fis / Regis Remixes

            Due to popular demand, the final two remixes which completed Akkord’s recent ‘HTH035’ package have been pressed to vinyl.

            Fis (Tri-Angle / Loopy) and Regis (Downwards / Sandwell District) both sourced elements from ‘Gravure’ and ‘Continuum’, tracks from the ‘HTH020’ EP. The former conveys experimental drones and left-of-centre D&B abstraction in his reworking, whilst the latter loops sludgy dub techno atmospherics in his inimitable style.

            Mastered by Matt Colton at Alchemy and pressed on 180g white vinyl, the ‘HTH040’ 12” is a companion piece to the ‘HTH020’ and ‘HTH035’ EPs, with a complimentary colour scheme and debossed cover with postcard insert.

            The aptly-titled "Raw Materials" sees Marquis Hawkes making a welcome return to the primitive house rhythms for which he became known via his early work for Dixon Avenue Basement Jams. Highly influenced by house originators Ron Hardy, Gene Hunt and Roy Davis Jr, "Raw Materials" updates the form with modern production techniques whilst preserving its authenticity. The title track sprawls over the A-side, making you move with a deep and hypnotic 808 beats and mesmerising dusty pads. Far deeper than a straight up banger, this is transportative club music of the highest order. The flip, on the other hand takes no prisoners, offering instead two cuts of raw drum machine clatter, strained vocal cuts and analogue tones in the form of ‘‘Ave That" and "Jerk U Later". All in all, this is a well rounded release, moving effortlessly from the immersive beauty of the A-side to the deadly dancefloor destroyers on the flip.

            STAFF COMMENTS

            Patrick says: "Raw Materials" sees the DABJ mainstay blessing Houndstooth with the sexiest, most sultry house sound you're likely to hear this year. Deep, warm and intimate, this is marriage material. The two B-side cuts on the other hand, are sleazy, raw and gritty basement bangers for all the hoodrats.

            TRACK LISTING

            A1. Raw Materials
            B1. ‘Ave That
            B2. Jerk U Later


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