Cristiano Grim is back with the second number of his experimental zine/compilation , FAKE2-120AMERICA. Obsessed by the work of the cult poet Pierpaolo Pasolini and his seedy film “Salo or 120 Days of Sodom” , the original short story behind by Marquis De Sade and Dante’ s “Divine Comedy” structure which Pasolini mirrored during his screenwriting session with Sergio Citti, Cristiano Grim coded that “ anarchy of the power” in the contemporary North American society, through a desecrating prose and poignant portraits of a country drowned in 3 masochist “circles” : BLOOD, MANIAS and SHIT. Original film photography was taken in the streets and the underground scenes of New York, Memphis, Nashville, Durham, Virginia and South Carolina. Jonathan Castro nailed his second collaboration with Cristiano Grim , disrupting his photography with a spirited overexposed technique and metallic colors. Music by : Alessandro Adriani which featured the whole A side of the release with 3 tracks with the contribution of Cosimo Damiano and Riccardo Chiaretti, legendary IDM musician CEX, Italian psychedelic duo Mushrooms Project, Californian musician Aaron Coyes (1/2 Peaking Lights), italian ambient musician Alexia Robbio, Roman techno producer Ida Mandato, New York industrial band INTRZN, Riga’s sound artist Reinis Semevics, San Francisco’s video artist and musician YNV, mystery vocalist VETA DAY.
Never Been is the first collaborative release by Loradeniz and Interstellar Funk, who produced the EP at a Volkshotel artist residency in Amsterdam, in 2021. The record examines the interplay of synthetic melodies and Loradeniz’s vocals, which are underpinned by meticulously crafted rhythms. Steeped in melancholy, many of the tracks on Never Been evoke the essence of departure, complex emotions and fading memories.
Antipodean Anomalies 2 is Left Ear Records most ambitious project to date, a compilation that took over 4 years to license and includes 17 artists across a double LP. AA2 picks up where the first iteration left off, with co-compilers Chris Bonato & Bridget Small continuing to dig through the music of the geographically isolating and maverick landscapes of Australia & New Zealand. As with the first iteration, Left Ear continues to excavate the music from these vast micro-scenes that evolved out of a number of small community-focused domains creating their own unique reinterpretation of musical influences from near and far, spanning the years 1980 – 1992. The compilation scopes an overlooked epoch from Adelaide, presenting acts such as the DNA Lounge, TCH & Will Kuiper. A close-knit community of like-minded mates that made distinctive electronic music together throughout the 80’s, all of which remained unreleased until now.
Confused Machines welcomes one of the most eclectic artists around, Ian Martin. As an artist he is without genre or style, an open source of creativity. He is the host of SEER Radio on Intergalactic FM and also an amazing DJ, whether it’s experimental or dancefloor madness. Martin has released his music on acclaimed labels such as: Bunker Records , Pinkman, New York Haunted, Bio Rhythm to name a few. His 9 track “Grey Theatre” album for Confused Machines is a deep dive and playful exercise with his synthesizers. An emotional and mysterious listening experience. A portal to his soul. Melancholic at times, it flows like water and lurks from the shadows of reality.
WRWTFWW Records announce the worldwide reissue of Midori Takada’s solo album from 1999, Tree of Life, available on vinyl for the first time ever in a new audiophile mix by the Japanese percussionist herself, and in full half-speed-mastered glory. Originally recorded in September 1998 at legendary Ginza (Tokyo) studio Onkio Haus and released on CD only for the Japan market in 1999, Tree of Life is Midori Takada’s best kept secret, a lost gem of minimalism and percussive ambient. The album is separated in two parts, the first one finds Takada exploring her trademark environmental soundscapes with precise mastery of marimba, drums, and bells, notably on the magnificent fan-favorite ”Love Song Of Urfa”. The second half is a collaboration with Chinese virtuoso Erhu player Jiang Jian Hua, allowing Midori Takada to unveil new layers of her artistic mind with a slightly more theatrical approach and a beautiful crystallization of complex simplicity.
Morphine Records is coming up with a massive loader from Slumberland’s self-made instruments sounds, from the bullroarer to sewing machines an d self made organs, combined with legendary Tuvan throat singer Sainkho Namtchylak. “Lightkeeper” was recorded and mixed by Lebanese-Canadian artist Radwan Ghazi Moumneh (Jerusalem In My Heart, Constellation Records) adding his distinct touch to the production of this rollercoaster of sounds. Belgian musician, composer and instrument-maker Jochem Baelus has been unleashing his obscure, hypnotic krautrock embellished with distorted exotica upon us as Slumberland since 2013. After creating his signature battery of sewing machines, projectors and dismantled mechanical objects, Baelus immersed himself into the world of 64 year old voice-artist Sainkho Namtchylak and assembled a new sound sculpture inspired by her colour.
The new EP on Space Drum Meditation comes with 4 vigorous, percussion-heavy cuts for a powerful ceremonial dance ritual.
Over the past decade, Vienna-based Florian Stöffelbauer – also known as Heap, has built a consistent reputation as a skilled DJ, producer and Neubau’s label head. Isla presents his latest effort “False Hope” which explores the intersections between industrial, electro and dark wave – all with a leftfield twist. As diverse as it is powerful, the 7 tracks featured here almost feel like nocturnal tales, chalking out Heap’s observations wandering through the streets of a silent city, with cigarette smoke permeating the air and sirens ringing in the distance.
Ladislav Zensor returns for a 3rd EP on the brokntoys label with Notions of Causality. The Czech producer showcases his trademark atmospheric electronics, soundtracking a world on the verge of collapse. The EP is completed by a remix by d&b producer Overlook.
Digital Gadget owner Bogger AKA Jeff Pils comes forward with a collection of straight-up electro with Panic ROM. 5 tracks on a limited cassette.
Hats off to Jamal Moss for the tongue-in-cheek title of his latest album as Hieroglyphic Being, which is naturally another pleasingly wild, freewheeling, imaginative and out-there excursion in his now trademark style. It sees him sprint between mutant electronic jazz (‘Circumploar’), out-there analogue techno (’21 Days’), organ-rich post-beatdown chuggers (‘Foreboding Self Pleasure’), reverb-laden ambient soundscapes (‘A Dream Within a Dream’, ‘Delta Opus L’), industrial-strength dancefloor weirdness (‘The Prograde Direction’), sub-heavy lo-fi deep house (‘Black Love On An Early Sunday Morning’), sparse electronic future funk (‘Future Shocked’), and jacking, sci-fi seeped brilliance (‘The Andromeda Strain’). In other words, it’s another excellent collection from one of dance music’s genuine geniuses.
“There is no Acid in this House” is Hieroglyphic Being’s third solo album on Soul Jazz Records, a resolute and powerful statement of Jamal Moss’s raw, vital, pioneering, Afro-Futurist electronic (dance) music. Moss once-again draws upon the vast scope of experimentation that has defined Chicago’s musical universe over the last half a century – from the birth of house music with the pioneers Ron Hardy, Marshall Jefferson, Lil Louis and others to the radical avant-garde jazz legacy of the city, The Association for the Advancement of Creative Musicians, The Art Ensemble of Chicago and Sun Ra.
+/-, a modern version of the yin/yang symbol, is the title of the debut album by Avé Eva 369. It’s a nine track journey, seen through the eyes of a spirit who has landed on planet earth and makes a labyrinthine trip through its dualistic nature. Worlds of sound arise from subtle electronic textures, transitions and rhythms. Vocals overlay these worlds creating dreamscapes. The songs examine the balance and friction between opposites like heaven/hell or male/female. Avé Eva 369 embodies archetypical and mythical figures, like Eve (from Adam) and the Greek goddess Aphrodite. It’s as if these Goddesses are channeling their ancient wisdom to the artist as a form of coping with modern life. As the album gradually comes to an end, a balance between opposites is found and a long lost paradise becomes visible.
Konduku returns to the Delsin Mantis series with an exciting double pack which dives deeper into his remarkable fractured rhythms and light-touch synthesis. Over the course of nine tracks Ruben Üvez straddles the space between introspective headphone trips and hypnotising dancefloor elegance, operating in a liminal zone of fluid tempos, submerged atmospheres and pointillist beats. It’s an open-ended but clear-sighted approach that aligns perfectly with the direction of the Mantis series.