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On "Ways Of Seeing" Konx-om-Pax has switched up the mood and hit gold. He has made an album that is filled with joy and sunshine, saturated with the classic feel of Berlin techno. Tom Scholefield has moved on from the dark ambient and brittle rave of the first two Konx-om-Pax albums, which were a reflection of his hometown Glasgow's electronic music scenes. After a recent move to Berlin, the textures of Glasgow's musical strains have fused into an accessible and friendly mix of poppy melodic electronica built from a stricter 'less is more' sound palette, closer in spirit to the music of his adopted city. It is also a record which was made in opposition to recent music he has been hearing, in particular the troubled, dark and noisy experimental music coming out of Berlin. Tom wanted to focus on more joyful qualities, making this a record imbued with warmth and happiness, a panacea to the darkness and disorientation all around in 2019. Having a social scene full of producers has also influenced the album.

The opening track "LA Melody" came from staying with Ross Birchard (Hudson Mohawke) at his house in LA, hanging out in the glorious sunshine with him and Lunice working on tracks. 'Initially Ross asked me to write some melodies to use in a project he was producing, but I ended up liking it so much I decided to keep the riff. I generally write music alone, but being around other producers gave me a certain excited energy that reminded me of after-parties back in Glasgow where Ross and myself spent our youth together. Spending time in Clark's studio also helped me improve my workflow and sequencing the album by seeing the way he does things'. On "Säule Acid" he collaborates with Silvia Kastel and in "I’m For Real" the vocals of Glaswegian DJ / producer Nightwave filter around the track. Stripped away to just the good bits, "Ways Of Seeing" is a pleasure to listen to. 


Anthoney Hart (who last appeared on Planet Mu as East Man) now returns under his Basic Rhythm alias with a new album "On The Threshold". Recorded primarily with the DJ in mind, these tracks are colourful, brutalist and adventurous. Contemporary hybrids constructed from blocks of sound, their angular rhythms draw on Britain's dance music past, but with an eye firmly on the present. The album starts with "St. Fabian Tower", named after the now demolished tower block in Chingford where Anthoney used to DJ for Rude FM. The track's lush detuned synths and syncopated drums are girded by stern low end frequencies. Drum and bass, jungle and hardcore are the touchstones here, but the forms he creates make no attempt to imitate the music of those eras.

Take the rolling, bubbling, almost jazz-drummer patterns of "Yeah, I Like It" and "I Want You" where strange pops and bubbles seem to be forced through the grid almost like they're an effect of pressure. It's an odd juxtaposition next to the soulful vocals but an effective one. "Edge Of Darkness" meanwhile, is an intense, rough ride of sliding rhythms and elephantine bass. Elsewhere, like on "A New Consciousness", things are tempered into a more streamlined techno-like hybrid. He lets loose in the claps and kicks banger of "Fi Di Gyal", but even here there are neat sonic tricks that sound like nods to minimalist composition. "On The Threshold" is a balance of smart and energetic, non linear thoughtfulness and makeshift experimentalism that does away with boundaries, but is very much its own self contained world.


In an unexpected turn of events Planet Mu welcomes back DJ Nate for a new album "Take Off Mode", a full nine years after his debut album "Da Trak Genious" was released on the label. A quick update: DJ Nate is from the West Side of Chicago and was the label's first ever footwork signing back in 2010, when Myspace was still a place to contact artists. His strange, maximalist, trippy and sample-heavy sound was the acid test to introduce footwork to a wider audience, outside Chicago and certain aficianados, and it created the opportunity for Planet Mu to release the two "Bangs & Works" compilations and numerous albums and singles from the genre, introducing the world to such artists as DJ Rashad, Jlin and Traxman. In the decade since "Da Trak Genious" was released, DJ Nate has been a popular R&B and Hip Hop producer and performer with a strong local following.

The highlight of this part of his career was "Gucci Goggles" which was an underground hit outside Chicago. His rise was slowed after he was paralysed from the neck down two years ago, an accident which he's recently recovered from. As well as his R&B, Nate has still been making the occasional footwork track, often putting videos out on youtube, and it's these tracks, uploaded between 2010 to now, which caught our ear. This selection of tracks feels like they're in direct continuity with his debut, perhaps not quite as chaotic as certain moments of "Da Trak Genious", but still with his trademark yearning vocal samples, cutting them into strange new pitched up and down musical motifs, his shout outs and rough beats intact

Rian Treanor releases his anticipated debut album ‘Ataxia’ on Planet Mu this week. The striking full-length follows singles for The Death Of Rave and Warp’s Arcola imprint as well as live sets at Boilerroom x Genelec, Nyege Nyege festival, tours in India and various high profile EU shows. The title ‘Ataxia’ means 'the loss of full control of bodily movements' and relates to Rian's music which is “intended to make people’s bodies move in unpredictable ways.”

He adds “the angles in the letters, the phonetics seem to mirror the geometry and idiosyncratic patterns in the music.” Rian explains that components of the tracks were made by generating a series of irregular events and re-structuring them, or by destabilising a pattern that is constant. The roots of Rian's playful sound are directly linked to his love of the music he grew up with. Coming from Sheffield, you can hear elements of industrial, synth-pop, bleep, extreme computer music and speed garage at play. From Cabaret Voltaire to Warp and beyond; the sound of his city has been, and is, an integral part of his musical development and is still a direct influence. 

Jlin

Autobiography (Music From Wayne McGregor's Autobiography)

Jlin's "Black Origami" album dropped in May last year - firing the Gary, Indiana (same location as rapper Freddie Gibbs..) based producer into the limelight and being one of the most discussed and well lauded albums of the year. Since then she's toured extensively garnering a loyal fan base and high praise from the media.

"Autobiography" is a score written in collaboration with choreographer Wayne McGregor and curated by Unsound. Serendipitously, "Company", one of Wayne's highlight performances, was the first show Jlin ever attended, and the producer has obsessed about making music for dance since then - making this release even more personally special.

The sounds, as one might expect, are mind-blowing futuristic, yet tight, controlled and succinct throughout. Apart from being informed by a wide spectrum of modern dance music (in particularly, footwork, IDM, glitch and modern dub), you can tell straight away that every nuance, thud and frequency has been well plotted by (real name) Patton. She avoids lavish, self-indulgent arrangements or random synth patterns for a precise and impacting aesthetic that owes as much to its drum programming as it does its technical prowess in the lower frequency ranges.

Jlin's whole focus is to create a rich new sonic life form, unlike anything that's previously existed; therefore, drawing comparisons with other producers is difficult. That said, tracks like "The Abyss Of Doubt" sound like a mix of Autechre, AFX, Tolouse Low Trax and Demdike Stare - and yes, it's really that good! Highly kinetic, unfathomably fresh and tailored with headphones and soundsystems in mind, this is a satisfyingly overwhelming and engrossing listen; and likely to cause as much furore as last year's "Black Origami". Totally, utterly recommended!


FORMAT INFORMATION

2xColoured LP Info: Red Vinyl Indie Shops Exclusive.

Ital Tek

Crocodile Tears And The Velvet Cosh

Follow up to his acclaimed 2016 album 'Hollowed'. Stepping in a different direction from that album, It’s as if Hollowed's detailed world has been fleshed out and filled with the spectre of human voices. As on his last album, the sounds on 'Bodied' are highly designed, but this time barely a whisper of dance music remains. Instead it's built around acoustic elements and ghostly choral arrangements, refracted and transformed into atmospheric, alien forms which are given the time to settle and transform.

Rhythm is used only as a tool to give his world a sense of dark, mechanical momentum. Alan explains; "After completing 'Hollowed' I had over a year away from writing any of my own material. I was working, composing music for a video game and a number of different projects. I needed to find a way back in and I rediscovered the joy of music being a release as opposed to a job. I was getting up really early and sketching out lots of ideas very fast, squeezing in quick bursts of writing at the beginning or end of long studio day spent working on other musical projects." "It was important for me to define the world that the album was going to inhabit before taking it any further, so I put a much greater focus into the sound design and palette than I had before. I wanted to make the music sound very physical, geometric, and monolithic, as if it inhabited a physical space." "On 'Bodied' the music focuses on the interplay between the minuscule and the vast, beauty and brutalism.

With this album I was much more concerned with dynamics and the discipline of holding tension; the use of space and silence to provide a counterpoint to the intensity.""Most importantly, I was keen for there to be a human acoustic foundation, so I did a lot of live recording of cello, violin, harp and guitar - anything I could get my hands on. I was certain that I wanted there to be a greater vocal presence - nothing lyrical or at the forefront but to give it an underlying organic quality - to impart some humanity into the music."As Ital Tek moves further from his roots, he's creating new sounds and spaces in which his music can exist. It's up to the listener to decide what kind of world 'Bodied' evokes, but it's certainly one that's beautiful and rewarding to spend time in. 

RP Boo

I'll Tell You What!

While notorious in the Chicago streets, RP Boo's music had been unfairly confined to a few white labels and self-released mixtapes until his two archival Planet Mu LPs "Legacy" and "Fingers", "Bank Pads & Shoe Prints" introduced broader audiences to his sonic history, some of it fifteen years after it was first recorded. "I’ll Tell You What!" is the next step in his mission, and the first time he’s released an album of contemporary material. The title, a favorite maxim of his, welcomes listeners to sit down and let him narrate in the unforgettable abstract fashion he's known for.

He explores familiar motifs such as the cosmos, movement, and opposition, using densely interwoven vocals, unpredictable percussion, and evil humming bass as his tools of choice. RP Boo’s music doesn’t follow the traditional rules that most compositions do. Layering decades of samples from yesteryear to the present over his commanding vocal cut-ups, he transports the listener to their own realm of the space-time continuum. The main difference between this record and his prior work is now we hear Boo tell new stories about preaching his gospel outside of Chicago, from his experiences frantically touring the globe over the last five years.

The words “things ain’t been the same / since I hopped the plane” are repeated on top of engine sounds and rumbling bass on Flight 1235, a glorious paean to his new jet-setting adventures. The spirit of competition runs through RP’s veins as much as blood does, something you can’t unlearn when you’ve been making music for Chicago’s footwork circuit as long as he has. The local culture has served as a shelter from the violence that has plagued the city, pitting kids against each other with their feet rather than weapons. 

Sami Baha is a Turkish producer based in South East London. His music was introduced to the world via his 2016 EP 'Mavericks'. Sami got into producing through being a rapper himself, working with local rappers in Turkey and producing beats for them, before setting his sights outside the country. 'Free For All' features MCs from all corners of the globe: UK drill squad 67's Dimzy, Stockholm's Yung Lean and Chicago rapper and singer DJ Nate (aka Flexxbabii). The record also features Egyptian MCs Dawsha and Abanob. Sami's production is refined and elegant, familiar tropes are reassembled in original ways, the instrumentation reflecting his background and influences simultaneously. Everything Sami brings to the album sounds relaxed and minimal, but tough, built from thoughtful arrangements and instruments, shot through with emotion and a dreamy night-time feel. 

East Man is a new project from Anthoney Hart and its material predates his previous work as Basic Rhythm. His unique take on grime reduces the sound to its steely fundamentals, bringing in influences from dancehall, drum and bass and techno to gird the voices of the MCs he works with. His own name for this hardcore continuum mongrel is 'Hi Tek'. Anthoney struck a friendship with the academic and theorist Paul Gilroy, who wrote the album introduction which places the segregation between young people and governments at the centre of its discourse. The set is a particularly regional offering, something that could only have really come out of London with its unashamed lyrical colloquialisms, razor-sharp beats and unparalleled grime energy.

STAFF COMMENTS

Matt says: I like hearing stuff that's so unashamedly geographically tied down that you can't help but conjure up vivid images of the locale when you hear it. This is one such piece.

Antwood (a.k.a. Canada's Tristan Douglas) returns to Planet Mu with his second album 'Sponsored Content'. The album is more reflective than his debut, last year's 'Virtuous.scr'. The relentless mood of the first album has given way to a more melodic, stripped out sound. It still shakes with speed, energy and seismic bass swells but with more space, more moments of delicate sadness and strange cyborg pop. What comes to the fore in 'Sponsored Content' is Tristan's gift for melody, coupled with the uncanny feeling that somehow his strange music is an entire ecosystem of it’s own. A bit Bladerunner, a little vaporwave and a whole lot like the score to a futuristic dystopia that's yet to emerge.

STAFF COMMENTS

Patrick says:

Claude Speeed returns to Planet Mu, two years after the 'Sun Czar Temple' EP, with his second album 'Infinity Ultra'. He describes the record he's been creating since he started making computer music as one "conceiving an interior territory: an abstract space to process the oppression, confusion and insanity of the contemporary age; and to formulate an honest emotional and artistic response - a psychic jumping off point into an uncertain future." 'Infinity Ultra' takes inspiration from sleep paralysis, monumental artworks, children’s anime, abandoned places, ghostly rave pasts and terrifying silicon valley futures, and the limitless anger of the digital present.

These influences have been channelled into an impressionistic burst of varied creativity: Shimmering VSTs; monolithic noise; euphoric blocks of colourful sound; trance stabs and the citrus rush of hardcore; towering drones, and skynet math rock – all rendered against cold, sinister space and nostalgic synth melodies. The album reveals the artist’s Scottish roots, viewed at a hazy distance from his Berlin home - a series of memories of Glasgow’s experimental psychedelic underground, its DIY rock scene and defiant club hedonism. These genre relationships are blurred and at times they contrast with audible brutality; the result is a hybrid, sculptured way of rendering music – minimal specifics, maximum emotions.

STAFF COMMENTS

Barry says: Throbbing industrial hums and hefty droning basses (think Blanck Mass, Fuck Buttons etc) but speckled with flecks of melody. As intense and beautiful as any of Hecker or Fennesz' less avant pieces, and just as deep. A brilliantly conceived and wonderfully cohesive epic.

It’s about love, loyalty, family and the start and end of relationships, with an overarching theme about becoming a father, all delivered with warmth and emotion. Miles even sings and so does his eldest son Milo on one track. About the theme he says, “we all know the stereotype of the black dad with multiple children from multiple partners who is absent from the child’s life, we see it consistently in popular culture. I want to champion the alternative, which to me is just normal.” As well as being a producer Miles is the co-founder of the Boxed nights, which have been a tight incubator of a music scene dedicated in the main to re-thinking and expanding what grime means, especially instrumental grime.

Mitch has always taken it further than most in a unique direction, defining his music led by his own personality rather than deferring to a scene consensus. An early example was his development of ‘peace edits’ in response to the aggressive ‘war dubs’ craze amongst other grime producers, around the time of his first album. Production-wise Mr. Mitch has always been a minimalist at heart, pushing detailed sound and melody around in space, but on Devout everything is more ambitious, emotive and polished, taking his music in an epic and well defined pop direction, albeit from a sideways angle, re-imagining what an album by an underground producer can be. Devout’s cast of male and female allies, MC’s and singers each deliver songs that cast perspective around the album’s theme.

Mr. Mitch sets the scene with the graceful honesty of the piano led intro, then P Money drops a heartfelt and emotional lyric about the charge of love and responsibility experienced on becoming a dad. Denai Moore’s song ‘Fate’ is open about being sceptical in allowing yourself to fall for someone at the start of a relationship, while Palmistry’s track ‘VPN’ explores his feelings after separation. The warm centre of ‘Devout’ is ‘My Life’s heart-tugging Sakamoto-like melody and bent keys, with Miles gently intoning “It’s yours” and final song ‘Oscar’ tells a newborn his brother will be an elder brother. "Devout" is a beautiful, grown-up pop record with its foundation in grime.


STAFF COMMENTS

Millie says: Grime hero Mr Mitch bursts out of the underground with a polished LP of sleek, minimal and soulful RnB. Fans of Sampha, FKA Twigs and The Internet need to hear this!

Few artists have the ability to totally seduce over a few spins like Italy’s Herva. What may seem messy at first listen starts to fall into sharper definition and ‘Hyper Flux’ makes a very strong case for being his most seductive and mature record yet. The album has dismantled the broken beats of his early records and drifts, dives and shivers, its beats blended into the haze, everything approached from unusual angles with none of the music sounding entirely digital as it smudges between manipulated live instrumentation and field recordings coupled with synthesis and space - there's a warm heart at the centre of this music. 

Mike & Rich

Expert Knob Twiddlers - Planet Mu Edition

A collaboration between Aphex Twin (Richard D. James) and µ–Ziq (Mike Paradinas), Mike & Rich - ’Expert Knob Twiddlers’ was made back in 1994. Richard edited the tracks into shape later in 1996 with his new Apple Mac computer and it was released later that year on Rephlex, the label he co-owned and which released the first two albums by µ-Ziq. This new reissued version has been carefully cleaned up, re-edited and remastered from the original DAT tapes, put into a more fitting order and, more excitingly, seven new bonus tracks and alternative versions have also been added. The album was recorded over a few days during the 1994 World Cup, back when Richard lived in a big shared flat in Stoke Newington. Richard had tried to collaborate with a few other likeminded artists but something clicked when Mike and Rich worked together and the sessions have a unique feel; playful and at times actually drunk. These are fun experiments in the spirit of lighthearted moog pop and ripe 70s British TV themes, standing out from the po-faced electronica of the time with a garish glee. The record was made on what is now seen as pretty primitive gear - an Atari, Roland MKS-80, Memorymoog, Roland R8 and a handful of samples on a Casio FZ-10M - but it’s to their credit that it resonates well with the hardware workouts coming out today. There's a broadminded but sloppy funk to the record, even whistling, singing and harpsichord in 'Reg' and wonky beat pile-ons in 'Jelly Fish'. There's latin piano and wheezy drunken techno in ‘Vodka’, or the sleepy spaced out ambience of ‘Bu Bu Bu Ba' with its barely contained laughter which seems to reflect the absurdity. The new versions and bonus tracks are an absolute delight - from a trancier version of ‘Vodka' to the wonky bounce of ‘Portamento Gosh', The 3/4 dub of 'Waltz,' the banging door bass of' Brivert and Muonds', the creepy seasick atmosphere of 'Clissold Bathroom' and finishing with the strangely graceful and serious 'Organ Plodder'. A generous and welcome return to the racks. 

STAFF COMMENTS

Barry says: What can we expect from two stone-cold stalwarts of the electronic music scene? Excellence, that's what. Analogue funk to the high heavens, acidic breaks and groovy sample mayhem. There really is something for everyone here, and it couldn't be any more of a perfect match between Paradinas' footwork/jazz/twee stylings and Mr. Twin's gritty machine worship. There are some proper tunes on here, and a lot of them. A historic catalogue, and a collaboration made to delight.

Asher Levitas

Lit Harness

Asher Levitas is perhaps best known as part of Old Apparatus, the acclaimed and enigmatic London experimental outfit. Over the last few years he has featured on releases for labels including Deep Medi, Houndstooth and Left Blank as ‘Saa’ with the singer Linn Carin Dirdal. ‘Lit Harness’, his first solo album, started forming as a project in 2015 alongside the artist and writer Michael Crowe who worked on the live A/V show while Asher created the music with vocalist Marina Elderton (from the ethereal psych band Kull) who features on the tracks.The record follows personal themes in a time of extreme emotion: anxiety and madness but also serenity and acceptance, hence the term ‘Lit Harness’, which holds you in a calm place while chaos happens all around. Asher also wanted to describe the experience of the sleep paralysis, which he has had most of his life, into a musical sound world. That’s not to say the album is totally dark, but there’s intensity and transcendence here as well as an otherworldly beauty.

The music on ‘Lit Harness’ plays out in a shadowy hallucinogenic dream-like state where it’s not clear what’s meant to reflect reality or pure fantasy. Part of this process was the way the audio and visuals developed in tandem with each other, Michael passing Asher images and video, which Asher used to inject drama into the tracks and finish them. ‘Lit Harness’ could be described as ambient, but every track is filled with detail and a strange clanking drama, the hammering noises of ‘Withdrawn’ and the cold fever of ‘In The Eyes’ playing out like a dream. ‘Sheathe’ turns the record around with clouds of swirling choirs and ‘Waiting By An Open Door’ plays a hazy piano, with wind rushing through the soundfield. ‘Strongest Bonds’ has held descending chords with watery drum hits; ethereal vocals building in the background into a haze of noise. ‘Blessed Mother’s’ repeating vocals and rising chords ripple with a transcendent, gentle hopefulness, which gives way to the flatline drone and otherworldly voices of ‘Premature Exit’. ‘Anticipating Violence’ finishes the album with a sad, angry surrender, punctuated with rushes of cold hammering and reversed breaking glass.

Heterotic

Love & Devotion

    Heterotic are a group formed from husband and wife production team Mike Paradinas and Lara Rix-Martin. Mike is the boss and founder of Planet Mu, and a celebrated producer in his own right as µ-Ziq. Their debut release is a composite of four striking instrumental tracks and four unique collaborations with Gravenhurst, the musical pen-name of Nick Talbot, who is known for his dark, folk tinged output on Warp. They were brought together by a mutual friend who sensed potential in the pairing. For both Nick and Mike, the project is something of a departure. ‘Love & Devotion’ displays a love of hazy, dreamy 1980s influenced electronic pop shot through with the dynamics and space of modern dance music. The lyrics describe a world that is profoundly haunted by its past. While the allusions to a key event are cloaked in ambiguity, their echoes in the present are described in visceral and magical detail. The result is an album of tightly coiled melodies cloaked in an insomniac haze, subtle harmonic shifts and strong vocal counter-melodies conveying sweeping sketches of a troubled, neon world.

    The LP opens with ‘Bliss’ - an aquatic, dreamlike instrumental that sets the scene for the record. The tempo switches up for the 4/4 piano house of ‘Blue Lights’, a scene of nocturnal intrigue, with an ambiguous cat and mouse narrative delivered via Gravenhurst's insistent and memorable hook. ‘Wartime’ opens with a kick like a heavy heartbeat, the lyrics recalling a poignant, romantic scenario that in reality is just an idealised memory, modified and projected onto a half-imagined past. ‘Robo Corp’ – an evocative Vangelis-like instrumental – sustains that feeling, adding a subtle tension. As the blissful synthesised choirs build in the background, ‘Devotion’ presents a portrait of faded glamour and unfulfilled ambition. The mood is broken by the instrumental ‘Knell’ in which lines of synthesised guitar and harp intertwine until the track breaks into an unexpected coda, giving a sense of resolution. ‘Slumber’ takes things down to stumbling pace, the drum kicks buried in echo over a muted bassline, as the lyrics describe the solitude of empty streets in the early morning when the party is over and the detritus of a night's compulsion and excess are laid bare. ‘Fanfare’ is a suitable denouement with echoed 808 drums, mournful synthetic horns and a bassline that sound like a flickering opiated grime instrumental, finishing the album with a sense of bittersweet triumph.

    Various Artists

    µ20 - 3xCD Box Set

      Planet Mu is a label that has always survived on its own very independent terms. For 20 years it's existed both on the fringes and in the centre of emerging electronic music, from IDM and breakcore to dubstep and grime and lately to footwork, which it took a chance on, opening it up to the world through the two Bangs & Works compilations. It also has a strong history of connecting the dots in between those genres by supporting idiosyncratic artists, from label stalwart Venetian Snares to Kuedo, Machinedrum, Boxcutter, Vex'd, Falty DL, Luke Vibert, Ital, Jlin and Mr. Mitch to name just a few. Run by Mike Paradinas, who under the name µ-Ziq was one of the first wave of producers pushing the musical envelope in the wake of house and techno's initial burst of inspiration, Planet Mu is an established engine of creativity and enquiry, with one foot in the pop world, and a sense of fun that never lets its experimentation disappear into exclusivity and snobbery.

      To celebrate their 20th Anniversary, Planet Mu have organised a 50-track, triple CD compilation of both old and new unreleased tracks and remixes packaged in a deluxe dvd-style boxset complete with a 100 page book charting the history of the label, with insight from artists and staff, written by electronic music writer Rory Gibb.

      The music on CDs one and two is mainly from the current decade, with contributions from Kuedo, Machinedrum, John Wizards, Ital Tek, Remarc, Boxcutter, RP Boo, John T. Gast, Jlin and new signing Herva to name but a few. They're colourful, broad and adventurous rides across the roster that will impress and excite any fan of electronic music and are a strong reminder of the consistent quality and broad mindedness of the label too. CD three features more of the older guard, dipping back into the roster from the late nineties and early 2000s with a range of noisier, knottier contributions from artists including Jega, Neil Landstrumm, Speedy J, Shitmat, Leafcutter John, Hellfish, Datach'i and Hrvatski, it's the perfect compilation for hardcore fans and a brilliant and friendly introduction to the label for curious newcomers too.

      RP Boo - AKA Kavain Space - is a man who is revered and respected amongst the dance music cognoscenti. He's cited as one of the originators of footwork, the fast, repetitive, rhythmically syncopated music and dance style that’s a grandchild of Chicago house and which has been brought to the wider world via releases from Planet Mu and others, alongside internet archaeology from fans, experts and enthusiasts. Going back to the roots of this music, his self released track ‘Baby Come On’ made in 1997, sampled and looped up ODB over tough syncopated drums, and in doing so spawned one of the first tracks to solidify the style called footwork. Later on, in 1999, his track known as ‘11-47-99’ ('The Godzilla Track') was monumental in the evolution of sampling in footwork, chopping up the Godzilla theme taken from ‘Simon Says’, by Pharoahe Monche and setting off a trend for footwork versions of hip-hop tracks. Many cite RP Boo as the originator of footwork music, and it's hard to argue, when the scrambled, syncopated drum patterns common to footwork can be largely traced back to him. Kavain was born in West Chicago and moved to the Southside in the 80s.

      Like many of footwork’s originators, he was brought through into production through associations with the legendary house and juke dance clique House-O-Matics, DJing alongside DJ Deeon and DJ Milton, then getting shown how to produce by DJ Slugo. The machine Kavain learnt to produce on was a display model of the Roland R-70, a drum machine which gave access to all previous Roland drum sounds and the ability to punch in rhythms on the fly, it’s the machine he still uses today. RP Boo’s music is singular and unusual in footwork, featuring raps and dialogue adopted from juke, often in combination with sharp-edged and incidental samples giving some tracks a paranoid atmosphere. Take ‘187 Homicide’s bleak feeling and question and answer vocals, ‘Area 72’s alien landing scenario or ‘Speaker’s R-4’s audio walk-through. His music is often hectic, seemingly built to to almost psyche-out the listener or offer challenges to dancers; it’s this playful and imaginative quality, along with his sometimes baffling-but-it-works rhythms and sub, that give RP’s tracks their totally unique feel.

      A real sense of drama is a thread that runs through Solar Bears music, ‘Supermigration’, their second album following 2010’s critically lauded ‘She Was Coloured In’ is full of all kinds of drama - from the intimate to the psychedelic, from the chase to the suppression. This time it’s been taken to a new level in all kinds of ways. 'Supermigration' is the result of a year and a half of on/off studio time in a state-of-the-art studio in the Wicklow Mountains (a far cry from the bedroom studio where they produced their debut). Compositions were road tested through a steady stream of live performances that saw John and Rían expanding Solar Bears from a duo into a full-scale band featuring members of I Am The Cosmos, Jape, Ships, Great Lakes Mystery and special custom visuals. And let's not overlook the two vocal-led highlights of the album featuring special guest appearances from Sarah P of Keep Shelly In Athens and the legendary Beth Hirsch (whose work here recalls her appearance on Air’s 'Moon Safari').

      'Supermigration' is clearly telling us that despite the strong acclaim around their debut, this Ireland-based duo was simply warming up. The title is inspired by Native American culture and the krautrock band Neu, giving this record a sense of the nomadic mystic. Occasionally you can hear parallels in approach to the recent work of Broadcast and the Ghost Box crew too. Their music also possesses an electronic sci-fi sheen as rich as their Planet Mu peers, but like the fact that their name is taken from a Tarkovsky movie, that’s just one portal, there’s also an emotive nostalgic side to the record that transcends the now, cutting a path through their diverse inspirations that include everything from Erik Satie to the Incredible String Band, from Cluster to Madlib.

      John rightly notes “Its fair to say we listen to a lot of music from decades gone but we get inspired far more from spontaneity in the studio.” If pushed, John might also admit the cut Cosmic Runner (leaked a while ago on various sites including Pitchfork) was inspired directly by Robert Anton Wilson’s Cosmic Trigger and that Rainbow Collision was inspired by a “Psychedelic daydream of two stained glass rainbows colliding over a Technicolor ocean... plus it matched the arrangement." Solar Bears are about layers, a sense of movement and drama, all brought about by a deep process that has resulted in one of the most exciting second albums this year. But what do we want a band to do on their second album? Give us the things we like about the first, but also to expand, and by setting off on their own personal, deep and intense migration that’s just what Solar Bears have done on Supermigration. Welcome to the trip.

      You might be familiar with Konx-om-Pax previous work without already being aware of it. His real name is Tom Scholefield, he’s from Glasgow, and as a 3D film director and graphic artist he’s made videos for locals Hudson Mohawke and Mogwai as well as Martyn, Jamie Lidell, Kuedo and Lone, created sleeve artwork for Oneohtrix Point Never, Rustie, King Midas Sound and others, plus he has toured with Mogwai as a DJ.

      So how on earth does he find the time to make music, or the energy? Tom explains that he makes music to chill out, a form of creative self medication. In contrast to his bright, synthetic and colourful artwork and videos, his music is more mossy and analogue. Often beatless, personal and located in a transporting surrealism, it's sometimes inspired by the idea of rescoring films and TV. 'Glacier Mountain Descent', for instance, is a re-imagining of the start of Werner Herzog’s 'Aguirre'. At other times tracks are inspired by nostalgia for childhood feelings, while watery immersion is a running theme, and a sense of Scottish surrealism is another. Tom started out making tracks in his teens, copying the synth lines he’d heard on prog house CDs, before graduating to a deep fascination with Jeff Mills and Drexciya’s hermetic imagery and alien funk after hearing them on John Peel’s show. This led him to creating lo-fi techno, then DJing and promoting events at art school, which developed his knowledge, driving him to formulate an aesthetic of unpolished, textured and emotive music. 'Regional Surrealism' works largely like a film. Vignettes like 'Isotonic Pool' transition into larger more dramatic pieces like the deep 'At Home With Mum and Dad' which takes an early Aphex sounding ambient track and fills it with odd drama. 'Sura-Tura-Gnosi-Cosi' featuring mysterious U.S. artist Steven Retchard is full of tape-hiss and unsettling spoken word, while 'Zang-Tumb' - with guitar played by Mogwai’s Stuart Braithwaite - works in bruised and twisted Ash-Ra Tempel territory. Elsewhere 'Slootering' finds a sweet spot between Drexciya and Oneohtrix Point Never, while 'Lagoon Leisure' lets you get lost in musique concrete space and drops. Later on 'Hurt Face' rubs static and raw electronic textures together and 'Chambers' follows it up with a sunny glow. The album finishes on the water-themed 'Let’s Go Swimming' which indulges in a slow-motion nostalgia, sending you away happy.

      Various Artists

      Bangs & Works Vol. 2 (The Best Of Chicago Footwork)

      In 2010 Planet Mu released "Bangs & Works Vol. 1". The carefully curated compilation showcased Chicago footwork, one of the most forward-looking, innovative new styles of electronic music on the planet. Since its release, interest in the scene has grown with the sound beginning to spread outside of Chicago, influencing productions by not only Planet Mu artists such as Machinedrum and Kuedo, but many others as well. "Bangs & Works Vol. 2" brings the focus back onto Chicago’s own producers, showing where the real innovation still lies.

      While its predecessor sticks mainly to the more hallucinatory and left-field elements, this one has a wider remit, ranging from mad techno-style tracks such as DJ Metro’s “Tekno Bangz” or DJ T-Why’s immense “Juice” and ‘Finished” to those that sound like musique concrete gone footwork, like Young Smoke’s “Space Muzik Part 3.” Others like Traxman’s “Funky Block” and DJ Clent’s “DJ Clent #1” display the obvious influence of flipping samples, hip hop style to the rhythms of footwork, while DJ Rashad & Gant-Man’s amazing “Heaven Sent” shows the influence of P-Funk and Detroit’s hi-tech soul. On the whole, footwork’s synapse-snapping intensity is ever present, but this selection shows an even wider diversity to the genre’s independent and unique production focus.


      Tropics is Chris Ward, a British producer and multi-instrumentalist in his early 20s signed to Planet Mu. Since the release of his debut single ‘Soft Vision’, things have moved on. The synth-pop of his early tracks has evolved into a more substantial and personal sound on this, his debut album. ‘Parodia Flare’ features Chris as a multi-instrumental auteur, playing drums, guitar, and a range of synths and electronic boxes, as well as singing on these songs.

      Coming from a family where music was always played, it made sense as a musician for Chris to act almost as a conduit by wiring the sounds he enjoyed growing up with into his own creations. The music he makes weaves vintage sounds and Rhodes keyboards, alongside banks of old synths, software and guitars, live drums and electric bass. Tropics is a suitable name for Chris’s music as each song is like a warm analogue jungle of sounds, drawn into focus by Chris’ naive singing voice and his knack for a lush melody. Given that the album was recorded in a walk-in wardrobe at his house, the steamy heat that the album gives off is a testament to his imagination.

      The opening short 'Navajo' sets the scene with atmospheric clouds of reverbed chords and electric guitar, quickly followed by recent single ‘Mouves’ with its gently sung verses disappearing into clouds of echoey Rhodes chords and floating synths with low-slung New Order-esque bass and soft drums keeping the track in shape. Next up ‘Parodia Flare’ majestically stretches shimmering keyboard tones and a light guitar over a tight bass and drums, gently teasing out the serene atmosphere. ‘Going Back’ features a keyboard refrain borrowed from a 70s jazz fusion track, with a low bass and Chris snowy voice cutting through the middle of phased guitars.

      ‘Wear Out’ is the morning after, sounding like an exhausted take on late period Beatles, with a lolloping drum beat and horns that sound like they’re drunk, interrupted by shimmering marimbas while cold keys screech in the background. ‘Celebrate’, revised for the album, is a vortex of aerial dub, with echoes and reverbs layering and looping over a very minimal drum and sub-bass, the whole track moving in glorious slow motion. 'Figures', meanwhile, delicately projects Chris's whispered vocals onto a chord borrowed from late 80s Detroit techno, inside a chilly electronic atmosphere that gradually breaks into an 80’s electro funk bassline.

      ‘Telassar’ is a soft focus 80s synth epic, while 'Playgrounds' is more upbeat, with lyrics remembering the past. ‘After Visiting’ is made out of a strange airy atmosphere, full of tiny dropped-in details and smudged synths stretched over minimal drum pads borrowed from dubstep, while 'Sapphire' is based around a repeating piano refrain, guitar, sax and vocals. Final track 'On The Move' sounds like prime Chicago post rock but with the Mizell brothers on production, it’s musical mixture that tidily bookends the album.

      Terror Danjah’s back on Planet Mu after last year’s "Gremlinz" compilation reintroduced him to the world at large. Since then, as well as Planet Mu, he’s released a single on Hyperdub, one on Butterz with more to come. Well the Gremlinz are back again on Planet Mu with this punchy eight track mini-album of experimental grime that showcases a breadth of new music, that swallows r'n'b and dubstep into Terror's self made matrix. The tracks range from the spikey, minimal 'Space Traveller' to synthy beasts like "Twisted", to the vicious "Power Grid" that pits shuffling 2step drums against a fierce, dark bassline and the occasional firing ravey breakbeat. "Upton Lane" contrasts a twinkling synth melody with big kick drums and nervy chords, while 'Horror Story' goes cold and minimal again with a shivery bassline, slippy slidy drums and spooked out harp chords.


      The Internal Tulips

      Mislead Into A Field By A Deformed Deer

      The Internal Tulips is a new project from two guys who have a history in American Bands such as Medicine and Savage Republic and who have separately released more abstract electronic music on Planet Mu in the past; they are Brad Laner who was Electric Company and Personal Electronics and Alex Graham who is Lexaunculpt, and they continue continue these experiments in pop. The project has a Beach Boys / Brian Wilson/Beatles influenced sound, but it manages to avoid being another exercise in retro comfort music because Brad and Alex use laptop trickery learnt form their more experimental pasts to bring their sound firmly into the present.
      Aside from making beautiful songs, sung in Brad's delicate multi-tracked falsetto, The Internal Tulips give their whole project a very modern, psychedelic production, treating their slow burning but gently arranged Americana to unusual treatments that blur the layers between acoustic and electronic sounds, cutting and editing vocals and instruments and adding depth and clarity to the arrangements, giving them an extra sense of the dreamlike. It's an album that feels immediately familiar; we're used to Grizzly Bear and the Fleet Foxes, bands you could superficially compare to Internal Tulips, but after a few listens the modern abstraction and production at the heart of the album will pull you in and take you somewhere else.


      "Human Meadow" is the stand out track from New York garage / 2-step / dubstep / hip hop / electronica artist FaltyDL's debut album "Love Is A Liability" and on this remix 12" he gets the Planet Mu treatment by some of the biggest names on the label. First to step up to the challenge is Boxcutter. Remixed during the period of writing that led to his new release "Arecibo Message", it has the same lush sound as that album. Second to take the remix stand is label owner U-Ziq aka Mike Paradinas. The final mix comes from veteran of Planet Mu Luke Vibert.

      U-Ziq

      Duntisbourne Abbots Soulmate Devastation Technique

      "Duntisbourne Abbots..." is U-Ziq's first new album for four years and first new material released since 2005. It's a more reflective body of work compared to the whirlwind of chaos that was "Bilious Paths"; introspective and rather melancholic, U-Ziq revisits his roots in the early 90s ambient techno scene pioneered by, among others, The Black Dog, Aphex Twin and himself. Amongst these 17 tracks of off-key melodies, nauseous harmonies and woozy beats can be found gems such as the beautiful "Strawberry Fields Hotel" in which a lone bassline strikes out a refrain of unexpected simplicity while bees swarm overhead around a fig tree. And "Drum Light" where a five-part melody gives way to a startling noise assault. "Acid Steak Night", a collaboration with label-mate The Doubtful Guest, is a more straightforward techno number with 303 basslines warring it out with spooky melodic synth lines. A melodic tour de force.

      Joseph Nothing

      Dreamland Idle Orchestra

        A concept album of love songs dedicated to Yokahama's derelict 'Dreamland' theme park.

        Nautilis

        Are You An Axolotl?

        A great selection of musical electronica. I'm well impressed with this!

        FORMAT INFORMATION

        CD Info: Now on CD too!

        Tim Tetlow

        Beauty Walks A Razor's Edge

          An album of reflective, melodic techno in the vein of mid period U-Ziq and early Boards Of Canada.


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