The Black Dog exploring the old ways… ”We pushed further by adopting old practices, working with one synth per person and limiting the use of our computers. We only stopped short of putting everything on beer crates. It seems like madness these days, but there is raw creativity within these confines.”
Natural Sciences Recs and Harsh Reality Music team up for the first reissue of Henry Hektik’s Motion P. Music. A figure who collaborated with M. Finnkreig and active in the 80’s German underground and tape trading circuit, he disappeared off the grid, leaving few documents of his music behind, with the handful of remaining tapes swallowed by mould or fried in electrical accidents. What is left is true unhinged tracks from the edge, with six cuts of jacking proto-house (Haiwasa, T.B.A), night-stalker surveillance wave jams (Hong Kong Wedding Night), Black ops narco paranoia (Private Apocalypse) and static knuckle-dragging workouts (Here Comes Escape).
An intriguing and revealing hypnotic immersion from the enigmatic duo JUNA. “Archetipo” explores the landscapes of the unconscious. The word “persona” in Latin means mask: thus the personality, the scenery of the ego, is transformed into a theatre of archetypal images, merging word and music, like a rhetorical figure, a synesthesia. The aesthetic-musical research is a poetic-sound journey into the psyche, to tell and celebrate it.
After her debut on Mannequin in 2019, Dissemblance now arrives on L.I.E.S. with her second full length of somber, cold wave and emotional bedroom pop infused songs. This time around we hear the Parisian artist add a new arsenal of instrumentation to her repertoire, incorporating live drumming and a wide array of synthetic instrumentation on top of her drum computers providing a backdrop to showcase her stark vocal performances throughout the album. Meticulously constructed, this record displays the full range of Dissemblance’s musical dynamics as she pulls the listener into her universe where dreams and reality tread a thin line, one blurring into the next with no beginning nor end. She expertly brings together a diverse group of styles and sounds from different areas of the electronic spectrum making them her own. An extremely unique and strong display of modern minimal synth pop that pulls equally from the past whilst propelling towards the future.
On 26 February, hundreds of Israeli settlers went on a violent late-night rampage in Huwara and other villages in the northern West Bank, leaving one local resident dead and 100 others injured and the town ablaze. This compilation of music was put together in order to raise funds that can hopefully give some aid to the residents of Huwara, all of the proceeds Confused Machines make from digital sales will go directly to Physicians For Human Rights – Israel (PHRI) www.phr.org.il An NGO that works in the occupied Palestinian territory, promoting Palestinians’ right to health and providing direct medical and humanitarian assistance. The compilation hosts a roster of both local and international artists spanning a wide spectrum of leftfield electronic music. Acid, Drone, Noise, Downtempo, Techno, SoundCollage and more. All of these tracks are new and have not been heard before, many of them have been created with Huwara and Palestine in mind.
“Recreational Kraut”, the latest release on the recently relaunched Source Records label, is a collaboration between Jordan Czamanski (aka Jordan GCZ) and David Moufang (aka Move D). “Recreational Kraut” was recorded live in in three sessions in Jordan’s Amsterdam studio in 2018 and 2019. As the title suggests, the album flirts with the term and the “genre” krautrock and it’s prolonged, often improvised instrumental passages. The equipment used in the late 60s and early 70s was often rather conventional like electric piano, old synthesizers and electric bass guitar. The two instruments shaping the album and giving it a coherence, despite the varied styles and tempos are Czamanski’s Fender Rhodes and Moufang’s lyra-8, an 8 oscillator drone synthesizer which is played manually via touch sensors, giving it a very expressive sometimes violin-like other times outer-worldly, atonal character. The album’s 11 tracks span beat-less ambient soundscapes to jazzy psychedelia, as well as hints of house, techno, broken beat and funk.
L/F/D/M returns with yet another stellar album of underground house and techno.
New imprint Silver Triplet enters the world with a rocket of a collaborative album from two of electronic music’s most free-spirited mavericks. Combining the surrealist punk ethos of Scotch Rolex and the bass heavy psychedelia of Shackleton, Death by Tickling is ten tracks full of wild and unpredictable changes, incorporating odd time signatures, cosmic synth freak outs and dubbed out space vibrations. At times the album lulls the listener into a zoned out trance whilst at other times it startles with its ferocity, Death by Tickling has the whole range in its Helter Skelter approach.
Futuristic electronics by Niels Luinenburg (Delta Funktionen) under his new guise Immediate Proximity – in collab with Diana Napirelly. Ambient, Bass, Electro and Techno are the main identifiers for their output. Deep and emotive is the mood, but at the same time the music is playful and has a robust and confident character. This distinct direction, which was laid-out on the pair’s debut LP ‘2334’, has now led to the start of their own label: IMPROX. On IMPROX, the duo experiments vivaciously with color, rhythm, space and tempo. Hi-tech, yet tribalistic rhythms are interlaced with elusive sci-fi themes. Big stage anthems are comfortably combined with cinematic ambient excursions. And through self engineered audio-gen modules, backed by a stark focus on sound design, the IMPROX series marks a powerful upgrade to Luinenburg’s production capabilities.
The venerable Dark Entries celebrates it’s 300th release with “Panoramic Coloursound”, a triple LP from The Creative Technology Consortium. Traxx, Andrew Bisenius, and Jason Letkiewicz forged the CtC during the depths of pandemic isolation. Drawing from film and television music of the 80’s/90’s and armed with a mighty array of vintage analog and digital synthesizers, they set out to explore heists, vices, and catastrophe. Panoramic Coloursound collapses sound and image into a neon blur throughout its 25 tracks. While retro scores were the starting point for the CtC, the project does more than pay dutiful homage — these notes are warped and skewed, devolving into decaying digital soundscapes. EBM-inflected basslines pop up on tracks like “Catastrophe” and “A Retro Vice”, menacing numbers that recall Traxx and Letkiewicz’s legendary work as Mutant Beat Dance (a project also featuring Beau Wanzer). “Follow Our Kode” pairs heroic synths with funky bass, striking cosmic chords akin to the material that Traxx and Bisenius have released as An Anomaly. Krautrock-esque guitars slide along anthemic pads on “Beautifully Polluted Sunset”, which comes across like an alien Miami Vice closing theme. The CtC channel corroded VHS vibes while making music for the future.
Fashion Flesh aka John Talaga from Bay City, Michigan, is known for his “off the grid” approach to music. Most all of the instruments used to perform and produce are self-built electronics, oscillators, generators, sound toys, and modulators. Those that are not built from one’s own design are heavily modified beyond audible recognition or return. No sampling/stolen sound is ever used or sucked from outside pre-existing sources. No laptops, instead tape manipulation and hard copy cut-ups…analog devices that are built for specific purpose and dis-purpose. “Rubber Mountain” is his first full LP, 6 tracks of mutant mayhem on The Black Lodge label, spanning from odd italo-disco flavors, to no-wave, post-punk, jakbeat, and experimental sounds from the beyond. Equally for the dancefloor and home listening, this record has it all.
“bijū arose from the need to explore the intersection of machine and body. The need to blur the boundaries between dehumanized electronic sound and the natural environment. Its selection is a constant search between minimalist and dense, dynamic and slow, sharp and blurry sounds. The album presents strength of vision in artist’s style and that is aesthetics of dystopian future, where slow motion martial marches meet ghostly rituals, cleverly blended with synth melancholy enriched by echoes of psychedelia and industrial rawness. An attempt to reach the undefined emotions between commotion and anger, sublimity and thrill, which, along with grief and hatred were brought by the war in his homeland in Ukraine. As part of the Warsaw based Ukrainian collective SUMISH wants to strengthen interactions between people through synergies, exchange of vision and knowledge, building bridges between the migrant community and local society through the different creative disciplines. Author of the program Gnostic Methods, dedicated to slow-rolling and experimental electronic music – every month on Radio Kapitał.”
Beyond ecstatic to finally offer a glimpse into the world of Voertuig. Working on music for several years, purely for themselves in sheds and studios tucked away in the outskirts of The Hague, Tonal Oceans presents an album by the four piece act containing music embodying the true spirit of the city.
Optimo Music presents Ambassade’s new album ‘The Fool’. Following hot in the heels of the acclaimed ‘Young Birds / Palette’ 12″ on Optimo Music, ‘The Fool’ is destined to be another Cold Wave, Synth, New Industrial, Experimental …whatever you want to call it …classic. “Born from several years of research and contemplation on the human mind ‘The Fool’ can be understood as a reflection to the dark energies – natural, political, human and otherwise – that are released when it comes to religion, greed and power.”
Ultra Random Analog Orchestra is a new project by Brendon Moeller. Starting by sculpting an audio collage in realtime, using a eurorack modular system, Brendon Moeller keeps randomness at the front of his methodology. Whether inputting found samples or designing sounds from scratch using oscillators and/or noise sources, he begins haphazardly sequencing, filtering, modulating and arranging the randomness. A spirit of experimentation and spontaneity drives these productions.
“Feral Vapours of the Silver Ether” is the second album by Chris & Cosey as Carter Tutti, following 2004’s Cabal. A haunting, gothic 11-tracker that revels more in cinematic beauty than abrasive sonic gristle, its standout pieces such as ‘Woven Clouds’ recalling the heartfelt studio masterpieces of This Mortal Coil or the mysterious blackgaze dissociations of Black Tape For A Blue Girl. Cosey’s voice appears in crystal clarity, against utmostly gut-wrenching string movements and synthetic choirs of angels.
Froid Dub continues to explore its synth-lined slowed down digi-dub cave flooded with waves of echoes and acid bleeps. From begging to end, bass lines and flanged delays sail over deep waters, seemingly barely disturbed by the minimal pump of the synth-wave track Not Loved.
Nation presents 4x LP and Zine (ft. photos, historical text and track narrations by the artist) set. An essential delve in to the retrospective works of SSPS.
In 1975, under the oppressive air of military dictatorship in Brazil, brothers Lelo and Zé Eduardo Nazario invited bassist Zeca Assumpção to join their musical experiments in a basement under Sao Paulo’s Teodoro Sampaio Street. As teenagers, the trio had already been playing together in Hermeto Pascoal’s Grupo, alongside guitarist Toninho Horta and saxophonist Nivaldo Ornelas, and it was while working together under Hermeto’s direction that the Paulista rhythm section (as they were then known) began to realise their own potential. With many nightclubs and venues closed in the mid-70s and government censors dictating the output of radio, TV and art galleries, many Brazilian artists fled during the years of dictatorship. But underground, Grupo Um were fusing avant garde ideals with contemporary jazz and Afro Brazilian rhythm; making phenomenally free and expressive music – in stark contrast to the sterile, conservative conditions being imposed above ground. Starting Point was to mark the inception of one of Brazil’s most daring instrumental groups. Their debut now sits in the lofty echelon of otherworldly 70s Brazilian music, alongside the likes of Marcos Resende & Index’s self-titled debut, Cesar Mariano & Cia’s Sao Paulo Brasil, Azymuth’s debut and indeed Hermeto Pascoal’s Viajando Com O Som. But just like all of those titles, which were either shelved or largely ignored at the time, Grupo Um – so radically ahead of their time – struggled to find a label to release their debut album. So Lelo kept the tapes safe in his archives, which is where they sat for almost half a century. Finally, almost fifty years later, this mesmerising piece of history is here, and it was only the beginning.
The Hipodrome Of Music 