The first new album from Les Filles de Illighadad in four years At Pioneer Works is the highly anticipated new album by the Tuareg Avant-rock group. Les Filles de Illighadad recorded the album in Brooklyn at the tail end of a two-year-long world tour. At Pioneer Works finds Les Filles at the height of their powers, creating a sound that transcends all known genres. This is a heavy and meditative set of music from one of the world’s most exciting bands.
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.
Baruch Williamson is the alter ego of Boris Willems, a Belgian artist member of a string of psychedelic rock acts like Aavon Durckheim, cosmic super weirdo, Hugs of the Sky and The Insect Soldiers Of The Sky. In 2019 he started to release a more electronic, experimental sound. ‘Sagittarius A*’ is his second album as Baruch Williamson (both release in 2020) and is inspired by metaphysical themes, a fierce experiment in pop composition and mixing. The album it’s released digitally by Wagonmaniac and on CD by Dream Museum Records.
Höga Nord Rekords presents Birds from London. Birds or Katie Wilkinson is relatively new as a producer but has been DJ-ing and playing in bands for the last nine years, marinating herself in interesting underground music. This 7”, Transcendental Phases / Tunnel Vision is her first release on Höga Nord Rekords. Birds is a declaration of love to electronic music and psychedelia.
Kanot is Jesper Jarold and Anton Kolbe. With the help of Lindha Kallerdahl’s expressive vocals, Jarold and Kolbe weave an eclectic yet durable sonic textile. Call it music for psychadelic hiking, primitive dance beats or speculative folk music – most of all, it is unrestrained music, for the smartest and the dumbest kid in the classroom. In the dense, and at the same time airy production, some drums anchor themselves steadily into the ground while others lash out like reverberating rhythmic gunshots. The tones from Jesper’s guitar and fretless bass float like leaves on the Drangme Chhu River, at times almost drowning in effects only to resurface in surprising and skillfully chiseled melodies that could play forever.
Minami Deutsch crushes negativity, sorrow, and depressive energy on their new Hoga Nord Rekords release, ‘Can’t get there’, a five-track EP. The Japanese psych-scene is being kept vital by picking up all the best influences from all the best psychedelic music and mixing that with a delicate touch of Japanese music tradition. On this EP, you hear all that you love and miss from the 70’s krautrock bands plus a cover on cult band Index’s song ‘Israeli blues’ from 1968. Also on this record are two remixes of the title track by HNR household names Jamie Paton and Mythologen. Listening to this, you get the feeling of leaving half your brain in a Volkswagen down an endless Autobahn in 1972 and one-half lost in the astral plane as boundless light, above space and time.
Hoga Nord Rekords have had the opportunity to work with Al Lover twice before during the last four years and now it’s time for the next step in the relationship between them, this time with the 7” single ‘Dark Matter Discotheque / Mark E. Moon’. In these tracks, Lover’s influences mainly stems from a decadent eighties New York or Paris and you can almost smell the heavy perfume mixed with indoors smoking get the feeling of sitting in a room with mirror walls.
This latest collection for Artificial Dance comprises three freshly unearthed iterations coming from Hypnobeat. Spearheaded by James Dean Brown (also known from Perlon’s Narcotic Syntax) and Victor Sol, and featuring other rotating members, Hypnobeat is a true product of the open-ended spirit of DIY music that proliferated in the 1980s. The prescient project championed deft, machine-powered rhythm programming as its modus operandi long before the practice would become a dominant global cultural form. Since Hypnobeat was revived in 2012 with Helena Hauff joining JDB on stage for improvised live performances based on one 707 and three 808s, there have been a string of archival releases shining a light on the early and more recently recorded works of this forward-thinking venture.
Aggelos Baltas is a veteran of the global electronic music scene, responsible for a handful of celebrated EBM 12”s as Dream Weapons, and a particularly heady and open-ended brand of krautrock as Fantastikoi Hxoi. His newest project, Anatolian Weapons, was conceived as a way to bring together these two seemingly mismatched concepts, with the polyrhythmic percussion and wailing tones of Greek folk music serving as their unlikely bonding agent. “To The Mother Of Gods” is Baltas’ debut album for Beats In Space. Created in tandem with Greek folk musician Seirios Savvaidis, it is a work of simultaneous collaboration and subtraction whose meticulous construction becomes more apparent with every listen. An album-length exploration of what happens when the principles of dance music are applied to pre-digital musical modalities. Savvidis contributed stems of ten songs, which Baltas deconstructs and rearranges with appreciation of the ancestry of their lineage and of the deceptively ancient eerie, droning qualities inherent in the style. Occasionally augmenting Savvaidis’ recordings with his own, Baltas treats these elements as if raw materials for an architectural process. It is a record of psychedelic folk music.
Pete ‘Bassman’ Bain, one of the founding members of the UK cult psych rock band Spacemen 3, formed Alpha Stone after Spacemen 3 and his other band The Darkside split up in the mid-nineties. In 1996 the band recorded the album ‘Stereophonic Pop Art Music’ and it was released on Bomp! Records on Compact Disc. The album hasn’t had a ‘proper’ vinyl release until now, 2018, when Hoga Nord Rekords continues their collaboration with Pete Bassman by releasing the album. You can clearly hear that Pete Bassman was the driving force behind Alpha Stone; fuzz, synthesiser -sweeps, programmed drums and processed vocals are the cornerstones in Alpha Stone’s sound. Raga-like mantras, heard in Farmer C, lies track to track with more percussion driven grooves and psychedelic pop oriented songs. The album’s sound has obviously survived the 20+ years shelved in obscurity and proves the ‘Drugby’ sound still vital! It’s always hard to sum up a bands particular sound in a few words, but you could say that if you put guitar and bass, synthesisers, a drum machine, and Julian Copes record collection in the hands of an alien, you’ve got Alpha Stone.
On Ultra Satan’s second 7inch release on Höga Nord Rekords, the band is developing a new genre and concept. Ultra Satan is like a space being, living alone in an enormously big and empty space station, orbiting our planet. With mathematical precision this genius creates music that effects us earthlings on a transcendental plane and shakes the foundation we lead or lives upon.
Originally released in 2015 on cassette by G.E.D. Soul Records. Now for the first time on 12″ LP vinyl on King Underground. The album is a collection of delightfully smoked out, library inspired instrumentals. Following in the footsteps of their highly enjoyable 2011 debut. ”Return Of” combines many shades of many moods into a tight record that finds a nice balance between strange hype arrangements and super chill ”couch-lock” inducing slow jams. It embarks on a cinematic soul journey from the opening note, through the interlude, straight to the closing credits.
Örtmek comes back round, presenting another vinyl only pressing of three invaluable edits of vintage Turkish funk, rock and disco delicacies. Following the raw, percussive experiments of the first release. Opening track ‘Özil Dans’ rains down crashing cymbals and freak-out-worthy wah guitars, maintaining an irresistible and authentic groove that doesn’t falter for five minutes of Eurasian hypnosis. ‘Dokuz Sekiz’ weaves traditional string elements alongside bursts of wild chanting. Finally, ‘Mozart’in Davul’ stitches a frantic, dense rhythm from the fuzz and feedback of an unknown slab of Turkish psychedelia.
A record that definitely lives up to its title – an obscure Italian sound library session that blends instrumental touches that evoke an America at the start of the 70s with some of the hipper, deeper currents you’d expect from the team of Stefano Torossi and Giovanni Tomasso. There’s plenty of expected sound library funk in the mix here in a way that makes for one of the most unique sound library sessions we’ve ever heard.
Three expansive edits of Turkish funk and psychedelia, each dubbed out through tape delays and spring reverbs, as well as carefully EQ-ed and mastered for an enhanced sonic experience. Side A kicks off with the low slung funk of ‘Ayçiçegi’, featuring an infectious bassline which weaves between subtle flashes of spring reverb, whispered vocals, each underpinned by pounding drums. Side B begins with ‘Biz Burdayiz’ , a relentless drum loop and singular vocal hit looped around and manipulated with tape delays, and the record closes with ‘Günesi Kesin’, a tense funk break which builds before reversing inside of itself.
The Official 30th anniversary vinyl reissue of Elektro-Dschungel – Kebab Und Andere Träume album from 1987. A divere blend of New Wave, Turkish Pop and Oriental-Rock, Funk & Soul, Hip-Hop but also Disco in a exotic way.
There are many ways for a band or an artist to compile an album: some make it in a week and some let the process go on longer. The latter approach does often mean that that the record will not be better than had it been recorded and mixed within a short amount of time, rather the contrary. However, there are those albums that just could not be made within in a week or a month, those compilation of songs that needed the time to melt together to form an album. Fontän’s third album titled ‘Fontän’, released on Hoga Nord Rekords is that kind of an album. Put the opening track ‘Mangsebung’ on, then stay with the record until the closer ‘Shadows’ rings out and you will go clear, sharp, and mildly messed up by the listening experience because this is an extremely well directed trip in mind-altering music! This album needed time to reach such heights. With Johan Melin’s and Jesper Jarold’s love for music and non-sentimental creative approach, this album proves that the band never gets hung up on trying to sound like the past masters, but to develop what they once started.
The Africa Seven label might not have been around for very long, but the London-Paris dynasty has certainly established itself as a no.1 outlet for rare, unhinged world music. This is Africa Airways Volume 3: The Afro-Psych Excursion, a gorgeous compilation spanning the years 1972 to 1984, and it clearly offers some of the most magnetic tunes that they label has put out thus far. There isn’t a mediocre song in here and, as the saying goes, it’s all-killer-no-filler; take African Black’s “Nzango”, for example, a twisted, FX-heavy tribal experiment, or the more soulful highs and lows of tunes like “Zinabu” by Bunzu Soundz. Rough, dusty, completely psyched-out, and inimitable the whole way through; if you’re looking for something that’ll get the heads turning, and the diggers jealous, then this is your LP.
Hailing from Buenos Aires, like a massive tentacular burst of lightning, electrifying everything and everybody along their way, Suspensivos Inflamables since 2001, have been blasting stages and danceoors across south america with unprecedented sonic and ultra sonic power. Flowing unobstructed between lavish dubs and feverish psych punk rock, this 8 member ensemble performs live submerged on a visual lysergic orgy of self designed animations and video footage projected onto themselves. In the same fashion, this LP was recorded live in studio at Odisea Records, Buenos Aires, on several memorable sessions.