Benjamin Brunn’s follow up to his highly regarded A Sun Life album on Third Ear. The Plastic Album is, like it’s predecessor once again bursting with fat, glistening, gorgeous sounds. Brunn’s sound is instantly recognizable; the Nord Modular synth and Roland 808 which feature on all his performances. Yet, he’s sounding as fresh, as enigmatic and as soulful as ever.
Delroy Edwards has come a long way. 2012 marked his Introduction into the world of Dance Music via Ron Morelli’s Imprint LIES. After offering up essential dance floor singles like ‘4 Club Use Only’ and ‘Heart and Soul’ Edwards’ established himself as a producer with a unique touch and style. With a growing desire to control his own output and make a more significant statement, Delroy set off to start his own imprint, L.A. Club Resource. Creatively directing his own imprint became a platform for him and over the course of two years L.A.C.R. created one of the most palpable musical experiences in the field. The label released music in a range of styles from a span of generations, the only constant was the high output and stellar art direction. Many releases produced by the label head himself, Delroy’s production were lauded for their piercing simplicity, grace and attitude. In his first LP for the label, Edwards’ has arranged a sincerely personal moment. The 30-track effort marks a special moment in his growth blending current interests in punk and electronics into an outsider narrative like no other.
Project STS-31-Spiralgalaxie (Hubble Telescope Series Vol.3) A clash of the Titans! Celebrating Solar One Music’s 40th release and 10th anniverary, this split LP sees two stars under various disguises, Heinrich Mueller (aka Der Zyklus and various other projects) and German producer Robert Witschakowski aka The Exaltics, back to back in a no return odyssey through the depths of the Galaxy. Expect nothing but contemplative and cosmic electro beats using original outer-space sounds from the Universe. Closing the Hubble telescope trilogy which brought to you Luxus Varta and more recently E.R.P. (respectively with the “Everything Is Nothing” and “Ancient Light” EP’s), trippy “Spiralgalaxie” will mark a new step in SOM’s History. As usual, the final chapter of the series dedicated solely to Hubble and all the great scientists and engineers at the NASA and ESA, comes with a beautiful cover print picture taken by the Space Telescope. CD comes with bonus tracks by Project STS-31, The Exaltics, Robert Heise and a extended alternate bonus Version of Der Zyklus – Ionospheric Delay.
In a world without hope, a world with no appetite for sonic adventures, there’s only one man who can save us all. He is… the Sample Jesus! From behind the enchanted pyramids of Egypt comes a man that has nothing to prove but a lot to give. Taught by a legendary Pharaoh, he has lived the life of an eremite for decades. Exhausted after years of asceticism there was only one goal on his mind: to blow all the misery out of our heads. On the constant search for the perfect sample he listened to the finest Mongolian folk to experimental Tuvan Throat singings. It was only recently that he was returning from his self-imposed exile to come up with a record that hits deep in everybody’s soul. Hallelujah, House-heads and Hip-Hop-kids, be prepared. Listen to the word of the Sample Jesus!
2845 is Gerard Hanson’s first full-length as Convextion in a decade. The new album is made up of seven characteristically spacy techno cuts, and is his first release with the Mojuba-affiliated a.r.t.less.
Robert Witschakowski takes a break from rewiring the rules of electro with his prolific The Exaltics project to deliver the eerie soundtrack album, ‘Acanthosaura’. Working with Nico Jagiella – with whom he co-runs the Solar One label – the pair have created the soundtrack for a world of flickering shadows, dark ambient textures and ominous bass tones. It’s the first Crotaphytus release in six years and according to Witschakowski, a project stemming from his love of reptiles and movie soundtracks. Like previous Crotaphytus releases on Solar One, ‘Acanthosaura’ is a deeply atmospheric affair. With each track title a reference to different types of lizards, from the death-paced drums of Cyclura Cornuta” to the slow-motion ebm-disco groove of Xenosaurus Platyceps” and the murderous subs of Caiman Latirostris”. In between, the dark ambient passages of Conolophus Subcristatus” and Amblyrhynchus Cristatus” as well as nods to The Exaltics’ spaced out electro in Iguana Delicatissima”. However, Robert insists that the album remains true to the project’s ethos. Crotaphytus is always dark and haunting. The project has no rules and that gives us the total freedom to make everything with it. I make also different styles with The Exaltics, but I have a concrete vision every time. With Crotaphytus, we let it flow and see were we land at the end. For this album, we tried to create an atmosphere like you are in a deep jungle, chased by giant lizards. Ambient has really the power to transport feelings. I guess this is subliminal in us from watching films.”
Executive Slacks began in the hot, humid summer of 1980 Philadelphia by Matt Marello, John Young and Albert Ganss, three bored, broke, anxious art students. Starting out with performance art in subways, they soon took their angst-ridden act to galleries and night clubs. The band found their moniker in a run-down bookstore after seeing an ad for men’s polyester pants. They pieced together sounds that captured the growing paranoia of an age predicted by Orwell and the growing inequalities of the 1980s. They excavated two cassettes that contained their earliest recorded material from 1980 and 1981. “Seams Ruff” is a 13 song compilation from these cassette collections plus a bonus flexi disc featuring a live performance on WXPN from 1980. The tracks were created with the use of heavily modified synthesizers and noisemakers, the broken innards of a grand piano, metal oil drums and a spray painted Harmony Rocket guitar. The Slacks drew their influences from contemporaries like Cabaret Voltaire and Tuxedomoon, as well as Disco and Dadaism. Dripping in nihilism, the song’s lyrics tackle the existential dread of the late 20th century and three of the songs are taken from “Mann ist Mann” a 1926 play by the German modernist author Bertolt Brecht. Executive Slacks’ unique brew of primitive electronics, harsh guitars and aggressive vocals inspired many bands like Ministry, Front 242 and Skinny Puppy.
Max Ravitz has made a name for himself with his hazed dance not dance productions over these last couple of years appearing on a handful of different labels under a handful of different monikers. Here on the 15 track, ”Common Purpose” cd we get Ravitz in all of his different forms as he teams up with numerous artists from his local Brooklyn scene and beyond, serving up unheard cuts from numerous recording sessions done over the last years. Through the record we hear the producer’s versatility from tripped out downtempo vibes, to mid-paced acid, to high bpm dust burners, as Ravitz and Co. explore almost all possible avenues while in the studio. Collaborators include Huerco S., Jahiliyya Fields, NGLY, Terekke, Bookworms, Cloudface, and Josephine.
Over the last few years, Dutch electronic misfit VC-118A has delivered a number of killer EPs and 12″ singles, each packed with sharp-edged electro, spacey techno, and industrial-strength analogue house. Shift Regsiter is his second full-length excursion and offers an expansive and hugely atmospheric journey through his trademark sound. Naturally, there’s much to admire across the 14 tracks, from the woozy, spaced-out electro-dub of “Input Mode” and the sparkling IDM of “Serial Data Transmission”, to the ultra-deep throb of “Radiation Curve”, and the hard-wired dancefloor bounce of the Drexciya-like “Apex”.
Seriously strong Jamal Moss LP under his Hieroglyphic Being moniker. “The Disco’s Of Imhotep is about creating Frequencies and Vibrations for the Listener that are conducive for him or her to Heal The Mind and Body and Enrich the Soul by creating Hemi-Synced Harmonies and music that contains embedded Binaural Beats. We have been made to believe that electronic sounds are just for Movement, Enlightenment, Primal Afflictions and Entertainment purposes, but it’s much more… It’s Sound Healing, but the ancestors would call it Frequency Medicine. Medicine is Healing and this project is dedicated to one of Earth’s first Healers: High Priest Imhotep. The One who comes in Peace, is with Peace.”
Copenhagen purveyor of melodic electro soul Kondi Records finally resurfaces after almost a decade with a new batch of tracks from man of the moment, Jeremiah R. Sleek nighttime electro in a deep but spacious melancholic vein of The Other People Place and Drexciya’s mellow aquatic dives. Includes an extended version of ‘The Outer Rings’, which appeared back in 2011 on the ultra limited ‘the 5th dimension’ album.
Japanese experimenter Kouhei Matsunaga has been quietly building an exceptional discography as NHK yx Koyxen and the numerous variances. With prior NHK yx Koyxen output on PAN, Skam and Raster Noton, Matsunaga’s growing alliance with Powell’s Diagonal label makes perfect sense. A fresh NHK yx Koyxen LP that expands on his fuzzy, texture-laden, leftfield techno blueprint. So, while there’s plenty of industrial-influenced darkness, claustrophobic tape hiss, and redlined rhythms, the Japanese artist also includes quietly beautiful textures and hazy, looped melodies. This is most evident on the foreboding, late night swing of “Y”, where the application of dub delays helps emphasize the skewed, doom-laden mood.
Pater Noster introduce the debut LP from Swedish synth wizard Christian Åkerström. Produced under the alias Folkvett, ‘Tröskelvärk’ is a collection of ten infectious, hypnotic and cinematic frost-covered Nordic synth jams. Analogue and uncompromising melodic minimal synth, this is music for the ice-cold punks.
Born in Manchester, UK 1947 Ron Berry became interested in electronics as a child in the mid fifties making radios and other electronic projects. His first musical instrument was a home-made electric guitar made out of scrap wood with pickups fashioned from magnets and coils found in old headphones. He played in his first band at school 1962 and then in various groups as lead guitarist in and around Manchester during the Beatles led Mersey beat era. The “Where Dark Forced Meet” album was first released in 1982 on cassette by Flowmotion label.
Left Ear Records went back to Coleman’s original master tapes for their vinyl reissue of the Commander’s 1981 private press album Mastership, a lost electronic funk classic. Truly nuts and really kind of essential. Check the instrumental cut, Mastership – a head nod synth voyage of the highest order.
Since 1987, Frak have been everyone’s favourite, premier Swedish synthesizer-touching weirdos. Even if most people hadn’t heard of them until 4 years ago. And yet, world of Frak is as long as it is wide. As blue as it is black. As ominous as it is glorious. As dirty as it is hairdryer. Sweet it is as yellow paper As. All of the above is a perfect example of how trying to convey what Frak is in the crass form of words is ultimately fruitless. Here is a double 12” vinyl product from Ultimate Hits featuring eight audio recordings from Frak: three men who have known each other since at least 1987. The sleeve was lovingly hand screen-printed at the studio of House of Traps, and features the colours commonly known as pink and black.
Killer, heavyweight double pack from the Chicago dons – Master C&J. Originally released in 2002 and featuring some unreleased and alternative mixes and versions of some classics and various projects they worked on this double LP is indispensable for any fans of vintage dance music. All of the hallmarks of Master C&J’s sound are here and we ca easily see what a huge influence their style was on everyone who came after them, this double LP serves as an essential collection and overview of some of their finest moments. Remastered in conjunction with Trax Records, fully legit, now is the time to revisit a cornerstone of classic Chicago House music, often imitated, never bettered.
Repeated Viewing’s soundtrack to the “not totally sure if it’s real or not” film of the same name slinks out of your speakers as if Badalamenti and Goblin had made sweet regretful love one night and created a baby so dark and brooding, only the ‘Trv Synth Fr33ks’ would take it in and raise it like wolves. Following the story of one man’s revenge across 1982 New York, this is Death Wish if we lived in some kind of alternative universe where Lucio Fulci had directed it instead of Michael Winner. From Ballads to Disco to Minimal Synth, “Street Force” is a masterpiece of faux soundtrack bliss and definitely not to be missed.
The Hipodrome Of Music 