With an Arturo Micro brute synthesizer put through psychedelic effects, Modern Ruin keeps the flame of Andrew Weatherall and Suicide burning through times of isolation and disarray. This Synth Wave/New Wave experience of an album, released on LP on Höga Nord Rekords, sums up 2020 with its dark and cold sound. The title speaks for itself: “Unemployment Disco Line” reflects the desperation in the sound and the reverb-drenched vocals in the back of the soundscape comes from deep within the Covid hole. Drawing influences from masters like the legends above, Rowland S. Howard, Johan Balance + Peter Christopherson et cetera, this debut album by Modern Ruin sums up four decades of underground club music and no matter how long this pandemic goes on we are in “Nothing Blues” until the dance floors open again.
Ratsnake aka Gesloten Cirkel presents “Just A Genesis” on the Place No Blame label. An conscious, meditative presentation of single take recordings from recent years. A sequence showcasing the development of techniques and styles that have been touched on and explored through other projects and releases. For the artist and label, this collection of songs represent a timeline of actions and reactions, transforming dusty old memories into perceptible realities in their own right. At its core, this album explores the confines between society and alchemy, and they form part of an ongoing research into the science of idea generation and external reflection.
By the late 1960s, drummer Roy Porter had already worked with some of jazz’s true greats (Charlie Parker and Dizzy Gillespie included), spent time in prison and weened himself off heavy drugs. It was at this point that he founded Roy Porter Sound Machine, a heavyweight jazz-funk combo with a penchant for raw rhythm and blues. The band’s 1971 debut LP, Jessica, is one of the most magnificent sets in his vast discography. Featuring sweaty, floor-ready rhythms from Porter, beefy bass, wild electric piano licks, fuzzy guitars and some fine brass arrangements, the album is as good a collection of jazz-funk/funk fusion tracks as you’re ever likely to hear.
A new 6-track mini album from a musician with a long list of credits including South African trumpet legend Hugh Masekela, afrobeat co-creator Tony Allen and Ethiopian jazz originator Mulatu Astatke as well as many Brit-jazz and other international roots artists. “It’s Time” blends Afro-jazz groove, free improv, spoken poetry and other-worldly atmosphere, with lyrics and titles hinting at unorthodox takes on reality and the times we live in.
British Electro veteran Bass Junkie returns for his second vinyl outing on Bass Agenda Recordings, this time with a full-length album. As his last release, ”Low Frequency Fugitive” indicated, he has been working hard on developing his trademark sound and taking things forward; no mean feat for someone who has been ahead of his time since he began releasing Electro in the mid-nineties. He has succeeded though and everything he is loved and respected for is here, plus some advanced structures and elements – Bass Junkie evolved – a true Sub Sonic Survivor.
Dalmata Daniel presents the new album by Dutch West Coast mid-veteran Roberto Auser. Auser (born Derk Reneman) has been into cinematic (or b-videomatic) electro for more than a decade now, with releases on Viewlexx, Pinkman, Gooiland Electro/Enfant Terrible and more, ranging from atmospheric and hypnotic to tight and grim, but always loaded with a vision of a storyteller. In a Dutch way, for sure. Though “Second Sun” is, again, an audiovisual trip, that’s not the primary concept here – it’s probably the purest album-like experience of Robert Auser so far, presenting most of his characteristics and sounds, and also new elements, still, all are coherent and organic parts of Reneman’s projective language of electronics.
TPPM and AtB aka Mr fLooDs are turning on the research machine taking the listener on a extraordinary tripped out ecstatic journey through timespace where spirits of Liaisons Dangereuses Radio and the legendary Boccaccio are summoned with inspiration in order to find a New Beat Soul for the 21st Century. What was born and initially exploded in 1987, went supernova (in Belgium) in 1988, declared dead in 1989, was slow and initially all about atmosphere with industrial strength beats – the main form of rhythmic propulsion being the pounding kick and heavy snare. The sound was mainly instrumental and when there was lyrical content, it often became more about slogans and giving commands. On „Decadent Skies“ An Anomaly bring back the atmosphere, beats, the essence off the beaten commercial track, and combine it with the knowledge of tomorrow.
E-MAN was the first project of Norwegian musician Geir Jenssen (electronics, well-known from being in Bel Canto and especially Biosphere) with guest vocalists Ragnar “Spiss” Larsen and Frank Jensen, and Per Martinsen on additional electronics. They only released one cassette on Likvider in 1984 (LIKV 4025) with tracks recorded in 1983/84.
Berlin studio nut CV Vision washes ashore, surfing on sine waves with his second offering of 2021 and the fifth Patience release, “Elemente”. Following on from his recently released debut LP Tropical (South Of North), CV Vision takes his library chops, psych rock skills and analogue artillery and spreads them over two quarter hour sides, to brain melting effect. “Elemente” soars from cosmic to kosmiche. A dizzying homage to the natural world, the two pieces pay tribute to those animals that glide (Gleiten) and those that float (Treiben). The A side Gleiten tears off on a gnarly, loping odyssey, embarking from the sand to faraway lands, stopping in at Beppe Loda’s Typhoon, Conny Plank’s studio, Bob Chance’s garage via the Transfer Station Blue. The B side Treiben is a more sublime animal, steadily cruising at 20,000 leagues, traversing a mostly calm sea of bubbling arpeggiated synthesis before beaching somewhere on the Med in the late 70s. CV Vision is Dennis Schulze, a DIY boffin originally from Bayreuth who enjoys tinkering with electronics and cold water plunges. He has several more projects on the way in 2021. Patience is an outlet for exploring further beyond the break than usual. Inspired by the music perpetually on rotation at HQ – with E2-E4 representing the format’s high tide mark – each release will be one artist’s deep dive down one inspirational wormhole spread across two sides of vinyl, or two side-long sojourns making full use of a round 12” piece of plastic.
Swaying & icy electronic dub compilation straight from Delodio Studio Sessions. Programmed and produced by F.M. Cut and compiled by Fa_Fane Transparent splattered record in a plastic bag with info sheet.
Hieroglyphic Being going back 2 his roots taking a break from the 4/4 beat.
Medical Records return to Italy to present the newest full-length album by Filippo Diana (alter ego of Joe Drive). Where as Joe Drive’s output is in the vein of techno, electro and house, Filippo Diana veers more in the direction of mutated library/soundtrack nu-disco. Consisting of eight tracks, join us on a journey as equally suited for progressive dance floors or the soundtrack to the deep recesses of the mind.
Almost two years after the second volume landed in record stores, Oliver Ho AKA Broken English Club has finally delivered the third and final instalment in his White Rats trilogy of albums. In keeping with its predecessors, the album sees Ho exploring a mixture of politically charged ambient compositions, post-apocalyptic electronic soundscapes, mind-altering industrial grooves and gnarled, post-punk influenced workouts. As you’d expect given Ho’s track record, the album sounds authentically dystopian, updating the Cold War era paranoia of early industrial music for a new century. Highlights include the acid-flecked industrial-electro number ‘Alone In The Hunt’, the strobe-lit EBM heaviness of ‘The Kill’, the creepy ambience of ‘The Burned The Villages’ and the clandestine, slow-motion stylishness of ‘Love Cuts Deeper’.
Absolute Body Control is back with new material after more than ten years. The legendary minimal-synth-wave duo formed in 1980 by Dirk Ivens (The Klinik, Dive, Sonar) and joined a bit later by Eric van Wonterghem (Insekt, Monolith) has been working together again and got finished a new EP. Six songs that fuse their classic sound with a theme that reflects the times of change that humanity is going through.
Andy Ash will drop “Not At Home”, his first (official) full length on Still Music. In more than a decade, Andy’s production has matured and evolved. It is now more sonically subtle, superbly arranged and it seamlessly brings you straight to Detroit, Chicago and New York with the perfect blend of Disco, Garage, Acid and House. “Not At Home” is a LP with 6 songs that showcase how much Andy has mastered his craft while staying true to his roots.
This album was compiled in 2020 during dark, dystopian times. As we searched for answers inside ourselves, Dan Piu’s artificial mind bubble manifested into a thick mass of confusion. Today in humanity’s journey, a science fiction foresight has become reality. The dawn of this new era has been essential for the frame of mind of this album: “Inside Universe”.
Dark Entries reunites with longtime idols Xymox, also known as Clan of Xymox, to reissue their Peel Sessions. Xymox was founded in Nijmegen, Netherlands in 1983 by Ronny Moorings and Anka Wolbert, who were joined shortly by Frank Weyzig and Pieter Nooten. Melding the synthesizer-driven experiments of post-punk and New Wave with the doom-laden atmospherics of the burgeoning goth rock scene, Xymox were one of the key progenitors of dark wave. The success of their 1983 debut EP, Subsequent Pleasures (reissued by Dark Entries in 2014) paved the way for a string of epochal releases on 4AD, where they honed their lush, despairing sound. Following their 1985 debut LP, Clan of Xymox, DJ and tastemaker John Peel invited them to BBC studios to record for his Radio 1 show. These recordings were released in 2001 via the Strange Fruit label on CD and are now available here for the first time on vinyl.
The first Electronic Emergencies release of 2021 is by Chris & Nogi, founders of the legendary Shoc Corridor. It reflects our love for minimal wave, simply called new wave back in the days. Released as a 10-inch, ‘Autumn Rituals and Refugees’ consists of eight tracks taken from 4-track-cassette tapes recorded in 1985-1988. Three of these are collaborations with avant-garde voice artist Sharon Gal. The original tapes, which had to endure a journey from London via Israel to South Africa, were beautifully restored by Ruud Lekx, who was able to retain the original sound and atmosphere. The cover art of ‘Autumn Rituals and Refugees’ was designed by Niels Vrijdag, exhibiting the DIY-mentality and modern living-fantasy of the music from the eighties.
Theo Delaunay aka Panoptique aka Constance Chlore is releasing his first solo album on Macadam Mambo. Head of the Simple Music Experience label (dedicated to release punk experiment on tape), member of Violent Quand On Aime, Succhiamo, Simplists, Ono Omen and United Assholes, he had previously been part of the “Danzas Electricas” volumes 1 and 3, released a little single in 2019 and curated the “Simple Music Experience Vol.2” compilation in the house. Panoptique stick to what he knows to do the best, to present his stories, singing spoken words, gogolitos deliriums, whispers and rough voices on Minimal Synth Wave ballads or Drexciyan’s Electro bangers, it’s brut, mental, sometimes brutal and so so groovy in the meanwhile. Special mention to his guest Fiesta En El Vacio for her ‘caliente’ featuring on “Menta Y Regaliz”.
Snow white cassette in a special neon green snap box with printed foil inlay. The album is a relic of three sessions that were created next to or in bed. A small case equipped with a looper, an EQ, a chorus and a delay is the basis. Each track is unique due to the different sound devices used, whether it is a synthesizer, microphone or tablet. Searching for the mood of the moment, even if the next moment can be completely different, if not even should. A field recorder is an infinite tool for capturing these moments. Also, these songs are indeed infinite. In the sense of a spiral-shaped interplay of musical influences, states of the moment, errors and coincidences, almost like the magnetic tape of a MC. Fortunately, the acoustic proof of this creative process is now available on an appropriate sound carrier. Expect swirling excursions into brightly illuminated Ambient territories, Lo-fi beat adventures in the outskirts of hidden rave countries and inverted Hip-Hop-experiments from the parking lots of long forgotten shopping centers. ”Das unendliche Konstrukt” translates into ”The Infinite Construct”. And that is what this tape here truly is. Constructs are facts that are intellectually claimed but not directly tangible. The same can be said about the music that Jacob Stoy made in 2020 instead of writing Corona diaries. This is music that must be felt. But if you try to grasp it only with your mental powers, it will slip through your fingers.