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The Diabolical Liberties

High Protection & The Sportswear Mystics

The Diabolical Liberties release their debut album “High Protection & The Sportswear Mystics” via the boundary breaking On The Corner Records label - a bastion of oddball jazz and electronics from the worldwide underground.

Comprising Rob Gallagher (vocals, guitar, bass) and Alex Patchwork (head of squarepushing), the duo’s debut longplayer is a rough, unpolished gem of a record that falls clumsily in the gaps between post-punk, electronica and jazz. Lead single ‘Sliders’ embodies this identity crisis, simultaneously honouring and deriding the ubiquity of said footwear over resonant breakbeats, plonking cowbell and the screeching horn of Ignacio Salvadores (King Krule / Gal Go). Elsewhere, the brilliant Emma Jean Thackray sprinkles ‘High Protection’ with cosmic dust, ‘Bigger Than You’ is a ramshackle (but no less respectful) homage to the 70s Ghanaian disco/fusion purveyed by legends like Ebo Taylor and Pat Thomas. All produced and recorded in a shed, on train platforms, trains, tubes and occasionally Caffè Nero in Cheam when it was quieter than home.

“High Protection & The Sportswear Mystics” follows a series of self-released and long sold-out white label 12”s and 7”s that included collaborations with Nyasha (a moniker of Nubya Garcia) and a super limited On The Corner 10” dubplate. All the musical (con)fusion starts to make sense when you take into account Gallagher’s long and distinguished career in music. A truly original British voice, he was a stalwart of the mid-80s London jazz scene (centred around the WAG club and Dingwalls) and a key agitator/forerunner of the fusion that was bubbling up. He formed the band Galliano in 1987 and was the first signing to Eddie Piller and Gilles Peterson’s now legendary Acid Jazz record label. Sidestepping onto Peterson’s freshly minted Talkin’ Loud imprint, Galliano’s debut album “In Pursuit Of The 13th Note” materialised in 1991 and was an international hit - effortlessly marrying cosmic funk, blues and an aura inspired by spiritual jazz with a conscious, poetic flow. The don dada Roy Ayers contributed vibes and scat. Four albums later in 1997, Gallagher disbanded Galliano and embarked on a solo career as Earl Zinger. The following year he formed the jazz/ electronic duo Two Banks of Four with Dilip Harris aka Demus, releasing “City Watching” on Ben Wilcox’s Sirkus label in 2000. Later, in 2012, he was also behind the experimental blues/folk/dub project William Adamson on Brownswood Recordings and most recently collaborated with Emanative and Rocketnumber9 on 2013’s “Over” EP.

The prolific On The Corner Records are proud to present “TransNeptunia”, the mind bending debut LP from Planet Battagon, exploring new dimensions in left-field experimentation, cosmic sampling and ancient drum machines.

Seen drumming with Basement Jaxx, a long-night with a Pearl Syncussion SY-1 drum synth led to Planet Battagon’s rhythm master Nathan “Tugg” Curran setting off on a intergalactic exploration, searching in the rhythmic seas between Saturn’s Rings, creating a full album’s worth of super-sonic jazz-rave, the likes of which have never been heard. Planet Battagon’s ‘Trans-Neptunia’ was recorded over a couple of days by Tugg, on Live Drums, synth bass, synth drums, & FX in almost full improvisation with associates Martin Slattery (bass clarinet, alto sax , Soprano Sax & FX), Oli Savill (percussion) Mickey Ball (trumpet) and Jack Baker (drums 3-tracks).. Avoiding the many pitfalls and cliches of both jazz and electronic music, the group jammed around a number of themes, whilst synth lines were triggered by Tugg making the machines partners in the group jams that laid the foundations of this album.

From the wonky, twisting sonics of “Wezlee’s Disco Inferno” to the frantic, scattered patterns of “Escape From Sedna” the EP is full of psychedelic textures and deep space distress signals, coded in a language transformed via earthly amplifiers to resemble a sound landing somewhere between the musical outputs of Sun Ra, Aphex Twin, Herbie Hancock and Carl Craig.


On the Corner goes beyond being a record label. It is a story of innovative artists from hotbeds of ancient-future* music across the globe. This ‘Door to the Cosmos’ compilation is the 10th full release (and an eclectic array of 20 EPs). OtCs rawkus sonic explorations are brought to the fore via 24 tracks making a heady blend of label mainstays and fresh family recruits. The label is an inimitable mixture of Miles Davis’ ‘call it what you want’ attitude, the afro centric futurism of Sun Ra and the evolving electronic frontier where black music kicks it to the dance floor.

‘Door to the Cosmos’ expresses On the Corner’s adventure; future sounds referencing the source, be it Detroit, UK bass culture, New Orleans or the Niger delta. The title riffs off of the otherworldly, afro futurist jazzer Sun Ra’s infamous chant ‘dare to knock at the door to the cosmos’. Sun Ra’s sound and narrative bending inspires us to kick at the rules and push at the infinite, the ecstatic and the unknown through music by knock, knock, knocking at the door to the cosmos. The compilation is the first outing for a new raft of artists who are celebrated by the label and welcomed to a creative space brimming with the tales of unsung pioneers of the past and champion sonic explorers of the future.

Dngdngdng

Continentes Perdidos

    DNGDNGDNG is Dengue Dengue Dengue's new alias for this release of extra sensory perception. The duo have projected rhythmic visions of lost continents, unknown worlds and the unseeable past and future that is present all around us. By channeling rhythmic patterns from the matrix they're able to translate the waves of radiation around us which originated at the cosmic event which created the universe. DNGDNGDNG reach deep into their sonic imagination to draw from interlocking time signatures and variant tempos. From the cosmic interference and mathematics DNGDNGDNG create a polyrhythmic theme that brings the sound of continents lost and imagined to our ears. Dengue Dengue Dengue have established themselves as one of the most pioneering artists on the leftfield electronic scene in recent years with heavyweight support by the likes of Boiler Room, Resident Advisor and Bandcamp weekly.

    Heavily influenced by the sounds of UK bass sub-cultures Dengue Dengue Dengue are drawing on their decade of entrancing audiences around the world to connect to dances of the mythical past and lands of the dance beyond their alter ego Afro Peruvian invocations via ancient future rhythms. With the futurist alias of DNGDNGDNG the duo are able to break expectations and swing into imagined realities on a 6/8 rhythm.

    Behind the masks are Felipe Salmon and Rafael Pereira, two producers, dj’s and graphic designers from Lima, Perú. Their work explores the rhythms from Peru and other parts of the world, recreating them electronically by mixing new and old, analog and digital, to create a unique sound and visuals. Their musical explorations go from psychedelic cumbia to dub, from salsa to footwork, from tribal to techno. Their visual and sound palette continues to grow and add new flavours to this melting pot.

    DNGDNGDNG is the new alter ego of pioneering tropical bass duo Dengue Dengue Dengue

    ‘Continentes Perdidos' breaks expectations and swings into imagined realities on a 6/8 rhythm

    STAFF COMMENTS

    says: Ancestral idents, rainforest atmospheres and serious bassweight abound on this club destroyer from Dengue Dengue Dengue's new alias. Think Hessle, Yak or some of the more techno-tropical Neubau releases. Heaviest shit!

    Siti Muharam

    Siti Of Unguja

      Siti of Unguja tells the story of pioneering women, of the ‘golden voice’ of Siti Muharam, heiress to the singular legacy of her great grandmother, the mother of taarab, Siti Binti Saad.

      On the Corner teases this first taste of a landmark recording that the label embarked upon two years ago on Zanzibar. Siti of Unguja has a transformative atmosphere, brimming with romance, passion and protest.

      Zanzibar is an Island archipelago that lies 6 degrees South of the equator and 30 miles off the East African coast out in the Indian Ocean. Known for its spices, traditional Dhow sailing boats and being a mercantile trading capital of Swahili culture.

      The modern history of Zanzibar can be animated through the life and legacy of one artist, Siti binti Saad. Born in 1890 in the small fishing village of Fumba, on Unguja (Zanzibar’s largest island), she became the first Zanzibari recording artist and her recordings sold in tens of thousands across the swahili world.

      The tracks recorded for Siti of Unguja demonstrate Siti Binti Saad’s eclectic influence on Zanzibari taarab and her great granddaughter, Siti Muharam imbues the compositions with feeling. Siti Muharam’s golden voice carries the poetry and invects a timeless passion. It is Muharam’s deep humility and love that brings the spirit of these two women together.

      With Sam Jones at the controls, taarab’s conservative layers were opened up and given more than a little wiggle room. Under the direction of Matona, the recording of this album paid homage to Siti Binti Saad’s innovations by bringing back the percussive Kidumbak style of music that originated on the streets of Zanzibar. By stripping back the typically dense string section of taarab a space was created for Muharam’s beguiling timbre that is gilded with emotion.

      Asher Gamedze

      Dialectic Soul

        On The Corner Records is delighted to announce the release of Dialectic Soul, the debut album from one of Cape Town's most cuttingedge, visionary artists and musicians, the drummer Asher Gamedze.

        This is Jazz at its most spiritual, most progressive and most appealing form. As Asher himself says: Dialectic Soul is about motion and a refusal to remain static or stay still. It’s the commitment to be continually moving’.

        Recorded live over two days at the Sound and Motion Studios in Cape Town with renowned musicians (Thembinkosi Mavimbela (bass), Buddy Wells (tenor sax), Robin Fassie-Kock (trumpet) Nono Nkoane (voc)), Dialectic Soul is breathtaking in its musical vitality and expression of soul seeking truth. By incorporating the concept of the Total Art for this project, it fits perfectly within On The Corner's aesthetic of music, art and vision for creative innovation. Label art director Victoria Topping created the sleeve design working with Asher's drawings and concept.

        Asher continues: "My composition "state of emergence" introduces the themes that constitute the album; free drums representing autonomous African motion, the saxophone reflecting deeply and honestly on colonialism, the teachings of Coltrane, Steve Biko, Makeba and Malcom X and positive manifestations of resistance."

        "Fundamentally, it is about the reclamation of the historical imperative. It is about the dialect of the soul and the spirit while it moves through history. The soul is dialectic. Motion is imperative. We keep moving."

        Khalab

        Zaire E.P.

          OnTheCorner creep closer to their milestone 10th release with DJ Khalab here providing some futuristic new world amalgamations for the label.

          "Zaire" is the beginning of a new narrative for the artist. In this first chapter Khalab creates urgent compositions with layers of sound from the past, present and future. "Zaire" is underpinned by an intensely pounding heart of other-worldly percussion. The collaged loops frenetically jab in syncopation breaking off when the inherent swing casts its discrete groove to summon the dance. Unrelenting waves of synthlines, basslines and rhythm find harmony amongst the melodic chants and distortion. Already making Gilles Peterson’s ‘All Winners’ list on BBC 6 Music. The two remixes offer magnified oppositions to the friction that Khalab seamlessly stitches into his tapestries of sound. The bass frequencies that Medlar bounces across his electro dirge, taking day into night, contrasts with the harmony and light of Will LV’s journeying remix that drives through the troposphere.

          "Continuation" is a remarkable work in which the interplay of emotional experience and life motion experienced by band leader Tamar Osborn (AKA Tamar Collocutor) is channeled and explored by Collocutor. The band’s third LP assuredly strides forward following the critical acclaim awarded to "The Search" from 2017 from the likes of The Wire, Vinyl Factory and Gilles Peterson. "Continuation" is an album about coping with grief and loss / bereavement. The music charts the many (and sometimes surprising) emotional states encountered, moving from acknowledgement, trying to keep ‘normal’ life going, the need to sometimes put a pause button on the world / existence and let the waves of feelings crash and roll, sudden anger & confusion, finally to moving (perhaps with uncertainty) forward.

          Tamar Osborn has led Collocutor through a line-up shift from septet to quintet for "Continuation". The modified line-up creates space for the musicians to express themselves through the shadows of "Continuation"'s movement. The quintet allows for more group improvisation, based on just a few motifs and thereby giving the musicians more space to converse. The tracks "Lost & Found" and in particular the album’s title track, "Continuation" (the only piece with 3 horns) hark back to the intricate arrangements of "The Search". It’s a deeply personal album, the writing of which acted as Tamar's way of processing and understanding experience and the need to channel feeling. In listening truly "Continuation" bares that rare and precious gift of a morsel of the human experience being illuminated by artistic genius.


          STAFF COMMENTS

          says: Improvisational jazz at it’s best, ‘Continuation’ is a deeply emotive album exploring themes of coping with grief and loss. Instrumental jazz that captures the soul is powerful and revealing.

          On The Corner provide the first taste of a landmark recording that the label embarked upon two years ago on the East African island archipelago of Zanzibar. Pete On the Corner was consulting for the ambitious permaculture development of Fumba Town. The story of Siti Binti Saad, the mother of Taarab is rooted in Fumba. Pete joined the dots to shine new light on the pioneering life of Siti Binti Saad as the innovative town development took shape and looked to connect with the Island’s unique history at the centre of the Swahili world. Whilst steering a recording project that would celebrate Siti Binti Saad’s legacy, Pete brought in producer Sam Jones and the pair met with filmmaker Andy Jones (who documented the life and work of the legendary Bi Kidude) who revealed that Siti Binti Saad had a great grand-daughter, Siti Muharam who led a very private life but had a ‘golden voice’. With music director Matona on board the scene was set to go beyond celebrating the singular legacy of a Swahili pioneer and find a new hero.

          Siti Muharam has a golden timbre and on this 7” we get the first taste of her debut LP that will represent her great grandmother’s legacy for the next generations. The 7” is two tracks which are at the furthest reaches of the LP project. The A-side is a Sam Jones Construct of ‘Ashikibaya (Ft. Tamar Collocutor)’ who find new frontiers of this Swahili jazz out across the Indian ocean pushing a cosmic Taarab on the trade winds. The flip is an instrumental affair with Matona driving the stunning ‘Mandira’. This project came to life in a derelict studio in Zanzibar in February 2018 with the help of Fumba Town Development, Dhow Countries Music Academy, The British Council, Matona, Sam Jones and On The Corner.


          The ‘Synth Expressionism/Rhythmic Cubism’ LP from Chicago’s Jamal Moss aka Hieroglyphic Being is a collection of idioms that have no past and no future, his jarring use of polyrhythmic polyphony imbues a sense of timelessness. The prolific catalog of Moss’ covers many musical dialects from his hometown and beyond. Never standing in one artistic sphere for too long, this adventure for On the Corner Records sees Hieroglyphic Being exploring a multitude of expressions of the American Avant-garde. Abstractions Of The Future Past — Afro-Cubism: The Designation, conceived by an African With A Mainframe — An Etude Of Effigy — A Hieroglyphic Being.

          Rhythmic Cubism: In this ‘Dissertation Of Disorientation’ [Neal Andrew Emil Gustafson] temporal considerations are put aside as polyrhythmic propulsion is the current flowing through the work. As prelude the fastidious ‘Rhythmic Cubism’, Moss enacts a flurry of white noise and musical coda as it phases in-and-out of synchronicity. The disjointed dance of an alternative Black Music, ‘The Spiritual Or ‘Electromagnetic Worlds’ takes the meter down a fraction to exonerate a granular groove of visceral refracted complexity. Sonorus static sits alongside spastic shards of synthesis to reveal a melancholic medley before its conclusion.

          ‘Apocrypha’ collages distinct rhythmic source materials in an entrancing abstraction of ‘Hypersonic Hemiola’. An assertion of Art Blakey proportions. Perpetually pushed forward through the building of distorted percussion, Moss precludes into syncopated synapsis before and end of reductive symmetry.  Evolving into a studdered off-kilter groove, ‘The Redemption Project’ flows as a dissipating organ medley dissolves into a deluge of layered sonic textures, creating an indiscernible metric center before fading to a distant vanishing point.

          Departing with a common-time ‘Timbuk2’ takes off like a classic Chicago Acid track, then makes a left turn towards the center as it drives the rhythmic motion into a dystopian dreamland, as the sax line surges forcing the track to break free from it’s charted course. The Fragmented Fantasy of The Synth Expressionism/Rhythmic Cubism LP is a conclusive work that has no end, a conundrum of conceptual calculated improvisation. Drifting through time, this fragmented abstraction of Afro-Cubism leaves room for posterity, as each listen summons a new perspective on the suite. Something ever so common in the work of Jamal Moss. Charting new sonic directions, the very nature of its precedent makes it a truly Hieroglyphic affair.

          Destiny is made. Realised. Driven by the acts of vision. Hireroglyphic Being is a seer. Atomic resonance echoing from the big bang defies the conceptual reality of purity. The nuclear static of ‘white noise’ is HBs canvas. Channeling poly rhythms into the universe. Experience, repetition and eternal decay. From purity back to the absolute by way of a deluge of slurry across time. Infinite layers of distortion and refracted complexity. This is HBs canvas. Sound of eternity channelled through a bass bin, represented by its own impure reflection and fragments. Always more than it's whole but never as was before.

          This album seeks to reach beyond ideas and emotions, beyond the comprehension of a human archetype. Beyond ultimate history, forwards and back. To ends and a singular beginnings. Timbuk2 is the frenetic intersection where the call and response of these ideas lock and dissipate back into the void.


          Tenesha The Wordsmith

          Peacocks & Other Savage Beasts

          Tenesha the Wordsmith, who came to the fore on On The Corner’s 2018 release ‘Black Noise 2084’, has delivered a hard-cutting, gut-wrenching, and extremely moving spoken word album produced by Khalab that brings together different lines of black music – folkloric, jazz, and electronic dance – into an afro-futurist narrative with thunderous results. ‘Peacocks & Other Savage Beasts’, set for release on 30 August, lays bare difficult truths and projects the stories of hidden voices, with a warm and heartfelt delivery that envelops the soul.

          The poems are dedicated to the intersection, the places where we contemplate identity, culture, trauma and love. ‘Peacocks & Other Savage Beasts’ is a place where they all meet. “I hope between these lines you find healing,” says Tenesha. “I hope your compassion for others grows. I hope you will make the decision you were afraid to make. I hope you will learn how to turn pain into power and purpose. Decide which type of beast you want to be and if you can’t make up your mind, watch the women…”

          Originally from Oakland, California, “a place where revolutionaries are born,” Tenesha the Wordsmith originally began to fuse hip hop and poetry while living in Albany, New York, where she created her first collection ‘Body Of Work’. Her early influences have returned with features from beatboxers and vocalists that give the album a distinctly urban hip hop vibe.


          STAFF COMMENTS

          says: After a standout contribution to Khalab’s ‘Black Noise 2084’ LP last year, Tenesha teams up with the producer once again, delivering poetic, polemic and emphatic spoken word over an array of Afro-futurist beats. Sex, love, race and equality are all explored by an artist operating at the cutting edge of music and poetry.


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