With Excavation, London-based electronic producer Bobby Krlic, aka the Haxan Cloak, offers a multifaceted roadmap of the afterlife. The record, his first for Tri Angle, is about the journey taken after death, and it's bold and domineering, the kind of music that towers over you and casts a giant, intimidating shadow.
Mala’s first new album in four years, Mirrors, is effectively the Mala In Peru to his previous LP’s Mala In Cuba session, and again enabled by Gilles Peterson’s Brownswood Recordings.
Working with native musicians in Lima, including Asociacion Juvenil Puno, Danitse, Colectivo Palenke and Sylvia Falcón, the DMZ don gorgon traces rhiozomatic binds and faultlines between South London and South America via seismic bass and plasmic dub contrails, shaping up as a much darker, spirit-haunted sound than its predecessor.
It’s identifiably Mala music, at once rooted and forward-leaning; trampling zones close to his ground-breaking early DMZ emissions and yet keenly compatible with the sci fi-esque Afro-Latin styles currently sprouting up across a diaspora located between London, NYC and South America.
Effectively, Mala is your spirit guide, acting as an interlocutor between those dimensions, navigating a trip that comes on in waves between the stoned pipe rituals and skeletal drums of Kotos thru the queasy ayahuasca synth visions of Dedication 365 and brilliantly cinematic set-pieces like the dread couplet of They’re Coming and Shadows, or the spellbinding dark drum arts of Inga Gani and the grimy stepper, Looney.
Mirrors strengths lie in a spirited, fertile ground that’s outta time and place, forming a personalised work of sonic fiction that couldn’t have come from anyone else.
Traditional Synthesizer Music is a collection of songs created and performed live exclusively on the modular synthesizer by Aaron Funk. Each sound contained within was created purely with the modular synthesizer. No overdubbing or editing techniques were utilized in the recordings on Traditional Synthesizer Music.
Each song was approached from the ground up and dismantled upon the completion of it's recording. The goal was to develop songs with interchangeable structures and sub structures, yet musically pleasing motifs. Many techniques were incorporated to "humanize" or vary the rhythmic results within these sub structures.
An exercise in constructing surprises, patches interrupting each other to create unforeseen progressions. Multiple takes were recorded for each song resulting in vastly different versions of each piece.
Tim Hecker's latest work approaches a form of secular musical transcendentalism from within the battered temple of spirituality. Recorded in a church in Reykjavik, Iceland and using a pipe organ as the primary sound source, this new piece is essentially a live recording.
In reality, it exists in a nether world between captured live performance and meticulous studio work, melding the two approaches to sonic artifice as a unity.
It is in parts a document of air circulating within a wooden room, and also a pagan work of physical resonance within a space once reserved for the hallowed breath of the divine.
While the title of the piece "Hatred of Music" might be a clue, the album is also partly an attempt to confront a pervasive negativity surrounding music. Historical rituals of destroying pianos, mountains of pirated CDRs pushed by bulldozers in Eastern Europe, or the melancholy of the digital music era began as sideline motifs which quickly informed the work on this record.
They also really didn't at all. Despite that the context is wide open in such a form of musical abstraction, the substance of these immersive compositions showcases Hecker's continued mastery of organizing sound into a visceral near entity. It is an almost physical presence that the listener feels as much as hears. This work is a significant contribution to Hecker's oeuvre, one which spans over ten years of musical production.
Ravedeath, 1972 is an enigmatic document of beauty and force. The album was recorded mostly over the period of one day in July of 2010.
Iceland-based musician Ben Frost assisted with the engineering and performs on this recording.
For Fans Of: Jetone, Aidan Baker, Pan American, Stars of the Lid, Eluvium
A Silver Mt Zion (as the band was first known) was formed by Efrim, Thierry and Sophie (all of GY!BE) at the beginning of 1999, and after a debut performance at Constellation's Musique Fragile concert series, the trio recorded this sublime debut record on 8-track at the original Hotel2Tango in November of that year.
Starting with simple, stirring piano themes written by Efrim, the music swirls and sways with multiple violin tracks from Sophie and plucked contrebasse from Thierry (his first recording on upright acoustic bass). What initially began as a single long, sparse chamber piece evolved into more fully-orchestrated movements, interspersed with tapes, drones and loops, along with some vocals.
Guest musicians include Aidan Girt (GY!BE, Exhaust, 1-Speed Bike), Gordon Krieger (Exhaust) and Sam Shalabi (Land Of Kush).
Additional taped fragments are from Efrim's archives, with contributions from Aidan. The resulting series of plaintive ensemble pieces shivers with intimate sadness. He Has Left Us Alone. is among the most requested records in our catalogue for film projects.
The album was dedicated to Efrim's dog Wanda.
The second full-length from this genre-defying duo is a somber and richly-detailed work that constructs a dystopic environment where the 'natural' and 'organic' are inseparable from electricities, radioactivities and the detritus of military-industrial technologies and materials.
Through micro-recordings of metallic objects and resonances, field recordings, and raw filter-bank improvisations, Aden Evens and Ian Ilavsky (Sofa, Silver Mt. Zion) constructed a sonic landscape of polluted signal sources, weaving tentative, provisional signs of humanism into the mix by way of piano, organ and drums.
Alms is an invocation and critique of the distortions and remainders generated by the violence of the war machine. It is also a confession, of computer indulgence and easy access to technology, of leisure and the freedom for creative play - a tiny sonic treatise on the poverty of our times and how we shield ourselves from it.
This is not ambient music, or electronica. Please play as loud as possible.
A collaboration between Aphex Twin (Richard D. James) and µ-Ziq (Mike Paradinas), '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 at-mosphere of 'Clissold Bathroom' and finishing with the strangely graceful and serious 'Organ Plodder'.
A generous and welcome return to the racks.
Fuelled by the imposing fuzz-bass bass lines of Colin Stewart and the slamming backbeats of drummer Paul Archibald and featuring the scorching alto sax work of Rebecca Sneddon, this renegade power strikes another blow for the freedom principle on their second RareNoise outing.
From the mournful dirge "The Stars Unseen" to the dark, temposhifting "The Land of Heat and Greed," marked by Sneddon's squealing multiphonics over the top of a tribal groove, to the teethchattering intensity of "Poking the Bear," the formidable triumvirate from Edinburgh summons up thoughts of Slayer jamming with avant garde icon Albert Ayler or alto saxophonist John Zorn with bassist Bill Laswell and former Slayer drummer Dave Lombardo.
Elsewhere on Awakening of a Capitol, Sneddon turns in some freewheeling blowing in the altissimo range on "Slay the Light," skronks with impunity on the probing "The Pillars of Dagon," which features a string quartet, and wails on the maelstrom of "Erich Zann," a haunting piece named after an H.P.
Lovecraft short story from 1922. In all, this second manifesto by Nelson Mandoomjazz is heavier than heavy, darker than dark, yet always retaining a deep sense of humour.
"If jazz, as the eminent critic Whitney Balliet once wrote, is the "sound of surprise," Cuts, an intensely cathartic, fiercely turbulent collaboration between Japanese noise purveyor Masami Akita (aka Merzbow), Hungarian drummer Balazs Pandi and Swedish saxophonist Mats Gustasfsson, is the "sound of shock and awe." A sonic assault of epic proportions, it blends the bombast of Merzbow's grinding white noise barrages with Pandi's thunderous pulse on the kit and Gustafsson's ferocious abandon on baritone sax and clarinet mixed with live electronics, bringing to mind a marriage of Lou Reed's Metal Machine Music and Coltrane's Interstellar Space, with touches of Sonic Youth's sonic mayhem thrown in for good measure."
- Andrew Male, MOJO (****)
The meeting of Tim Hecker and Daniel Lopatin aka Oneohtrix Point Never at his Software Studio yields an otherworldly and near symphonic suite apparently conducted "…to mimic the tropes and techniques of jazz-based improvisation, with little preparation prior", effecting a wide-eyed and fascinating sound as dramatic and enchanting as any we've heard this year.
As you'd expect from a Tim Hecker record, the sense of diffuse, layered, analog-treated and digitally simulated space is just incredible, and paired with both his and Lopatin's feel for cinematic, heart-rending melody and complex harmonics 'Instrumental Tourist' is an impressive piece of work by any standards.
James Blake returns with his new album 'Overgrown' featuring Rza and Brian Eno. Following up his 2011 self-titled debut, 'Overgrown' has buckets of James Blake's trademark ethereal vocals, simple beats and cleverly crafted samples, but there's a step up here to something a little more mainstream with some interesting new sounds.
It's tales of fading relationships and clutched love start slowly and gather momentum, growing in stature as each track rolls out. Always confident in his ability, here he conjures sublime moments with 'Retrograde' and 'Digital Lion'. The album is a lonely, beautiful and inventive work.
The esteemed Norwegian troupe forge a tougher, dizzying sound galvanised by electronic experimentation in their 6th studio album. Since their last LP, 'Live With Britten Sinfonia' (2013), the band's principle song-writer Lars Hortveth took off to L.A. where, inspired by the scale of space and its flashing neon lights, he started composing the material which would become 'Starfire'.
Recorded back in Oslo at his band's own studio, the album neatly transposes the rolling, glittering landscapes of California to Jaga Jazzist's rockier topographies and smart jazz chops, manifesting a wide-scoped album mixing epic synth themes right out of '80s Hollywood with deft drum breaks, crashing machine drums and wobbly, restlessly playful electronics. The results cross between Goblin's prime late '70s prog, David Axelrod-like funk, and searing electro-jazz fusion, often all within the same track.
A friend of Flying Lotus, a practising Sufi and a cryptic psyche-hop prophet, not the usual credentials for admission to the Warp sect these days? From almost any perspective, Gonja Sufi is one of the most interesting acts to arrive on the esteemed imprint in a long time.
His debut album 'A Sufi And A Killer' is largely co-produced with the immeasurably talented Gaslamp Killer, also featuring guest beats from Fly Lo and Mainframe. Evidently all involved have tapped into their finest rhythm reserves, with The GLK splicing obscure psyche samples into swirling beat collages befitting of Sufi's off-the-dome idiosyncracies, while FlyLo gives one of his very best on 'Ancestors', wading into a deeply tripped sitar and burnt bump-beat headspace making reverant nods to Alice Coltrane.
Mainframe's contributions include a tidy electro-soul edit on 'Candylane' and a sparse electro build for the Zomby-meets-Dâm-Funk vibe of 'Holidays', but the success of this album can be mainly attributed to the cerebral kinship of GLK and Gonja Sufi, a marvelously symbiotic relationship that connects the two on a plane way above.
GLK seems to innately understand the range of Gonja's vocals, whether complementing his earthly rasp with laidback hashish grooves on 'Klowds' or entrancing psyche-rock chants and swampy bass on the outstanding 'Kowboys&Indians'. This all results in the kind of album you'll return to time and again, revealing the intricate artifices of GLK's byzantine sampledelics and Gonja's oracular lyrics. Well recommended!
Thick sleeves thick printed inner sleeves Coloured 180g vinyl free download code! 2016 Reissue of "Mutations" - the second work of The Kilimanjaro Darkjazz Ensemble from 2009.
Not existing anymore since 2012 The Kilimanjaro Darkjazz Ensemble now finally makes all long-time sold out releases available again on all formats (cd | vinyl | digital).
The series of reissues starts with their genre-determining second output "Mutations". An act combining profound musical sensibilities, deeply emotional harmonies and an acute ear for genre inter-breeding, The Kilimanjaro Darkjazz Ensemble placed itself and the confluent of dusty, gritty jazz and low-end doom-laden drones, and came up with a sound which is at the same time warm and dark, brooding and misty, cinematic and dynamic.
Influenced by acts like Bohren & der Club Of Gore and The Kilimanjaro Darkjazz Ensemble the anonymous russian group Povarovo mixed ideas of existing darker jazz acts with neoclassical elements and the melancholia of traditional russian music to a new level of intensity.
Not just a promotion platitude: an immense debut record. Time to immerse.