Leftfield / Experimental Recommendations July 2014

Review: [Emotional] Especial call time on their first series of releases and do so in style, taking a detour to San Francisco for a 12" that features reworks of latter-day synth experimentalists Inhalt. The specific focus here is Occupations, last year's EP for the killer Dark Entries label which showed a distinct progression in the Inhalt sound to capture a contemporary take on synth wave/cold wave/dark wave (delete as appropriate). Simulacra features reworks from Emotional experts Timothy J Fairplay and 'Glasgow's answer to Dopplereffekt' Scott Fraser along with their close ally Black Merlin, whilst US duo Valis offer a Stateside interpretation. The result is a remix EP that celebrates the ideas of Especial: to take influences of 80s New Wave, Synth Pop, Electro, Proto-House and the occasional touch of Disco and mold them into an up-to-date vision that respects but runs parallel to the modern obsession with all things House and forges it's own way.

Review: Downwards returns with Live From Tokyo, a 12" housing some rare live material from the Regis and Surgeon project British Murder Boys. Conceived in 2002 as outlet for the British pair to take their brand of techno into ever more extreme sonic territory, British Murder Boys material surfaced over a series of 12"s on Downwards and Counterbalance before the project was put on hold around 2006. Having been coaxed back into working together by Liberation Technologies, further BMB material is due to arrive through the more familiar outlet of Downwards. Ahead of a full BMB retrospective, Live In Tokyo would seem to originate from the duo's performance together in the Japanese city last year. Stylistically you can expect a cut of brattish, broken techno wedged between some feedback laden noises pieces.

Review: * DEMDIKE REPRESS * Lancashire dwellers Demdike Stare revel in surrounding themselves in a haunting mysticism so it's no surprise to read the title of the second of three LPs for release on Modern Love in 2010 is a reference to the 'Tibetan Book Of The Dead'. Across half a dozen tracks and 45 minutes, "Liberation Through Hearing" infuses your senses with a sense of deep seated paranoia via the narcotic, strung out dubbed grooves and usage of unsettling samples. "Regolith" in particular brings to mind the music that soundtracks survival horror videogame Silent Hill with the patter of sonic interference soon dominated by abrasive metallic textures. On the flip "The Stars Are Moving" approaches a concession to techno aesthetics as electro pulses gradually rise from the sonic mist. This is expanded upon on "Bardo Thodol", the only track with percussion at its core. The gently undulating chords that rise from the eleven minutes of white noise that make up "Matilda's Dream" makes for a transcendental ending to this fascinating, hypnotic release.

Review: What can we say about Matthew Herbert? Well, for starters, he's one of the most eclectic artists to have blossomed from the UK house and techno scene. In fact, his sound is ever-so-difficult to pin down and categorise. Part 6, the latest four-tracker to surface on his own Accidental imprint, is Herbert at his most daring, where lo-fi beats and gnarly, whacked-out techno feature on the same 12". The glitchy, processed female vocals featuring on "Manny" are so far away from the minimalistica of "My DJ", that it's hard to tell what exactly goes on inside Herbert's mind. What we can tell, however, is that he's on top form and once again reaffirming his status as one of the most creative minds in dance music.

Review: Mathematics boss Jamal Moss was clearly in a confrontational mood when recording the material that makes up Eat My F*ck, a rare long player under his lesser used alias Insane Black Man with some crude titles to match the abrasive nature of the music. Arriving on the + + + offshoot of Mathematics that's home to some of his most challenging works, the twelve tracks here will please and provoke in equal measures. As you might guess, Eat My F*ck is largely an aggressively ragged affair - the opening title track sounds like corrosive metals exploding - though it does occasionally recede into calmer territory ("Karma Sutra" and "Auto-luminescent Sex" stand out in this regard) whilst there are also moments comparable to the 80s primitive electronics of CHBB/DAF such as "Paradoxia" and "Psychomentrum".

Review: Yet another killer lopsided transmission from Tolouse Low Trax and Karaoke Kalk HQ which comes with added spice in the shape of remixes from Modern Lover Miles Whittaker and Themes From Lost Cities don Wolf Muller. It's these refixes that take centre stage, with material from Tolouse Low Trax's 2012 album Jeidem Fall the focus of Whittaker and Muller's attention and the results are nothing less than excellent. Far removed from his work as part of Demdike Stare or Millie + Andrea, Miles Whittaker's take on "Sussing" is a stuttering, low tempo trawl through malfunctioning electronics, whilst Wolfy boy turns in a wonderfully tropical rendition of "Jedeim Fall". Not to be outdone, the clutch of new Tolouse Low Trax productions are just as compelling, with "Vineland" a fuzzy excursion through chugging electro and "Eisenbahnzunge" a superb piece of Deutsche Kosmische.

Review: Modular synthesizer fetishist Luke Abbott apparently got the inspiration for this sophomore set during time spent as the "musician in residence" at the Wysing Arts Centre in Cambridgeshire back in 2012. Named after a piece of woodland close by, it sees Abbott using live analogue electronics to try and create a "natural life cycle" over the album's nine tracks. Interestingly, it differs from his impressive debut album in a number of ways; while Holkham Drones touched on krautrock, drone and intense ambience, Wysing Forest doffs a cap to spiritual jazz, Terry Riley and ambient explorer Pete Namlook. It's a beguiling set, all told, and one that constantly veers between crunchy bursts of intense IDM and becalmed, breathtaking ambience.

Review: Well, monster season seems to be upon us, but as we're sure you already know, we care more for the soundtracks than the movies themselves. The latest Godzilla recreation isn't exactly a film in which you'd expect to find a scorching score, but in actual fact, it's probably it's best quality. Alexandre Desplat creates a foreboding prospect thanks to airy synths and subtle swarms of drones in the distance. Neo-classical also comes to mind, but it's much too dark for that tag. Check it out, if you're a fan of intricate electronica manipulations this might just do the trick!

Review: The incorrigible PAN imprint returns with yet another dosage of fresh, ritualistic electronic sounds conjured by Berlin newcomer Mesh and presented by the unstoppable label-head, Bill Kouligas. The latter has had been on a formidable run of form over the last few years, and the releases he personally handpicks just seem to get better and better! These latest Mesh cuts are no different. "Scythians" itself is an instant PAN classic, a mass of utterly insane and morphed electronics fluttering away with grace and arrogance. But this is in no way a one-track release. Every track is the Berliner's own sound, one that's both bold and fierce but also forward looking. Some parts remind us of the spirit and the essence of the Metalheadz sound throughout the 90s, minus the breaks. Highly recommended.

Review: El Mahdy Jr is a musical traveller, hopping from genre to genre but always retaining his singular touch on bass music. But it isn't simply his low-ends which stand him apart, and in fact, it's the way he moulds and shapes tight grooves out of thin air. Having even released on Mala's Deep Medi Muzik, it's easy to see that he's respected by some of the founding fathers of the deep dubstep. He returns to Danse Noir with something of a mini LP and while each track has something different to offer, there is a distinct Middle Eastern vibe penetrating through the jagged and utterly broken beats throughout. Imagine Burial and Muslimgauze combined, and you're still pretty far off. Check out "Lost Bridge" and "Crack-Addicted Bellydancer" and you'll know what we mean. Sublime.

Review: The esteemed ESP Institute label overseen by digger extraordinaire Lovefingers seems to be right in the midst of a purple patch right now having just dropped excellent long players from Young Marco and the Blase duo of Secret Circuit and Suzanne Kraft. Ahead of exciting returns for Tambien and Tornado Wallace, ESP offer another sublime slice of electronic funk for the open minds out there from Nenad Markovic's 33 10 3402 project. This is the second installment of Markovic's Mecanica series and it's a sound we've personally some to associate with Beppe Loda's infamous mix tapes from the mid-80s cosmic scene in Northern Italy. Both tracks are heavily reminiscent of that era, where brash African drums meet intricate electronic manipulations and funky basslines. A beautiful crossing of post-punk, cold wave and funk. Sublime!

Review: Although less known compared to some of his compatriots such as Ennio Morricone, Stelvio Cipriani is a certified soundtrack legend. Having composed and compiled music for pretty much all the best cult B-movies of the 70's and 80's, he has turned whole generations onto films such as "Un Ombra Nell'Ombra" and even the ridiculously good "Piranha" franchise. Stella Edizioni Musicali, however, have repackaged the score to what could be Cipriani's best work, The Great Alligator. This LP has it all, from funk to disco and even hints of psychedelia, it could easily feature in DJ sets by the likes of DJ Harvey or Beppe Loda. The "Alligator Dance" itself is a masterclass in disco, but pretty much everything on here is brimming with class and panache. "Dance Your Fear Away" is another top tune, but go on, check it all out, you won't be disappointed! One of the craziest scores we've come across. Period.

Review: Originally released on Point Music, Philip Glass' 1993 masterpiece is now available on vinyl for the first time. Having always been reissued as a CDR, the wonderful folks over at Music On Vinyl have remastered this three-tracker for turntable use, on 180 G format, of course, and it was about time somebody did so! The three works are deep, luscious and glide between neo-classical and avant-garde with utter ease. Our cherry pick has to be "Subterraneans" for its delicate waves of strings and general feeling of peace. This is THE soundtrack EP and it's a shame it has yet to be used...

Review: London's legendary Mute institution goes back to its roots and digs up some of the best work by one of the UK's finest Cabaret Voltaire. These guys don't really need an introduction give the fact that they're pretty much responsible for the rise of post-punk right through to the birth of techno. It was about time a new compilation of their stuff was released, especially one as brutally on-point as this one! All the classics such as "Nag Nag Nag", "Kneel To The Boss" and "On Every Other Street" are one here but the more obscure rarities that were previously only available on 7" are the real winners. "Just Fascination", for example, is one you'll certainly want on a longer, re-mastered cut! Downright essential!

Review: If you still haven't clocked on to Liars, they're a bunch of seriously hip dudes form Brooklyn who've been making music since the turn of the century. Having always stuck close to London's now-mythical Mute imprint, 2014 has been a busy year for them, one which has seen them release their sixth album for the label, the aptly named Mess. If that wasn't enough, this latest EP is a rip-roaring remix affair of the LP's "Pro Anti Anti" track, which sees both a varied and truly talented bunch of artists having a go and re-jigging their noisy strand of art-rock into unrecognisable shapes and forms. The original itself is a cross between The Strokes on a serious dose of downers and Cabaret Voltaire's chest-bursting power electronics, and while Daniel Miller's remix doesn't steer too far away form the original, Factory Floor come up with a jittering, broken techno version. Truss adds in a much-needed helping of bleeps and cavernous kick drums on top of the original's wailing vocals, while Nest Of Teens stand out thanks to a marvellous reinterpretation of Liars' bassline. Beauts, the lot of 'em.

Review: Seattle's Sublime Frequencies never fails to impress with their eclectic compilations from all ends of the globe, and they've done it again with this latest collection of obscure hits from the Iraqi pop dynasty, one end of the music spectrum which many collectors dream to be more knowledgeable about. With an unsurprising total of twenty songs, there's something in here for everyone, and although we can't even begin to start giving you details on the artists within, we certainly can pick out some hot tracks! The opener itself is pretty incredible, with wacky percussion shots going off like there's no tomorrow, but we also instantly fell in love with "Bezikh Introduction", a track which can serve any purpose and fit in just about any DJ set. Recommended, as per usual! Don't miss it!

Review: If there's one thing that can be said of Blackest Ever Black, it's that the label continues to confounds expectations. Having just issued Dead Unique, a "lost classic of English art-rock" by Mick Hobbs under his Officer! guise, Blackest Ever Black now turn their attentions to Sweden and Bremen, a duo comprised of Scandinavian underground punk figures Lanchy Orre and Jonas Tiljander. Their BEB debut takes the form of Second Launch, an eleven track collection that further explores the instrumental blend of krautrock, drone, and progressive rock that made up Bremen's 2013 self-titled debut. Guitar and organ are the primary weapons wielded by Orre and Tiljander on Second Launch, subjected to all manner of reverb and feedback, with drums and synthesiser tones offering some rhythmic balance.

Review: Belgian artist Jens Vydt seems to have a strong creative bond with Other Heights, the label run by his compatriot Jorn Kerschot, with several Herstlaub albums released jointly with the artist's own federleicht label over the years, and this Hauch 12" sees that relationship continue. For Vydt completists, this record offers the chance to grip some of his finest work on vinyl for the first time with three of the four tracks previously issued only as part of his CDr album. The A Side is taken over by "Auf einen Stern zugehen, nur dieses," a ten minute minimalist highlight of the 2011 Herstlaub album Per Sonare, whilst the B Side picks out two tracks from last year's Our Love Was Only Half Forgotten with "Plenilune" particularly captivating. A new production in the wonderfully restrained "MJ Lermontov" offers a hint of further Herstlaub material promised on Other Heights this year.

Review: Italy's electro don, Alessandro Parisi teams up with Adam Van Maledict aka Adamennon for an excursion into the sonic ether on the fledgling Flight Recorder imprint, home to one of our favourite bits from Perseus Traxx. This collaboration is significantly different from Parisi's usual work and it's definitely thanks to Maledict's devious ways that they've come up with something so varied. Pianos, horror movies and subtle electronics sum up these four tracks in a nutshell. Provocative and daring, sparse and clued-up. Any one of these cold slabs of aural delight could be used in a soundtrack for the more tenebrous spectrums of the film industry. Chilling.

Review: Versatile has undergone a serious resurrection over the last few years. For a label that was once heavily rooted in France's early noughties house scene with artists like Pepe Bradock at its core, the label has now expanded and moved on to much broader musical landscapes. Zombie Zombie have already released on the label, most notably on an EP containing a dangerously abrasive DJ Sotofett re-shuffle, and they now drop an absolute stomper of an LP for DJ Gilb'r's label. Ranging from nutty, quasi-house tracks such as "La Danse Des Ombre" to more improvisational synthesizer experiments like "Le Dernier Bain" or "Chuchotements", this LP has it all. There's a prominent Eastern influence in there, too, for all you Acid Arab fans!

Review: Experimental musician Leyland Kirby has been skirting round the edges of electronic music since the tail end of the '90s, delivering curious concept albums under a dizzying variety of pseudonyms (The Caretaker, The Stranger, Billy Ray Cyrix, Butcher Claws and Bored in Columbia, amongst many others). Here he dons his familiar V/VM alias for a discordant trip into drone territory supposedly inspired by fading memories of the last throes of early '90s outdoor raves. In truth, there's little in the music - a typically hissing, dystopian fusion of murky textures and becalmed electronic tones - to justify the concept, but it matters little. Kirby is a master at creating vaguely spooky, industrial-influenced soundscapes, and The Death of a Rave (A Partial Flashback) only enhances his reputation.

Review: Overseen by resident selector DJ Sandman, Transmission is a monthly party in Barcelona that acts as a local focal point for all things post punk, cold wave and new wave. With the night a growing success since it's foundation back in late 2011, DJ Sandman have teamed up with the excellent Domestica label to present a second anniversary compilation that features ten acts that should offer those inquisitive minds some insight into the ebb and flow of a Transmission night. Oakland trio Seacrypt open proceedings with the ethereal minimal synth of "Glass Eye" and from here the compilation zips through the feedback drench post punk of French expressionist Madmoizel, London synth wavers Phosphor and Italian duo Schonwald whose delay-laden "Treasure" lives up to it's title and then some. A fine document for Transmission and Domestica!

Review: Sacred Summits is an absolute beauty of a label. Specialising in unearthing odd and wonderful experimental music form all corners of the globe, they've had a tremendous couple of years in the game. The Luis Perez LP last year had to be one of our top picks and this latest scorcher from post-punk legend Colin Potter is equally as awesome. "I Couldn't Agree" is a classic, synth-led jumble of apocalyptic lyrics and raw beats, but the real jewel is on the flip in the form of "We Are So Glad", one of those tunes that you can leave on repeat. Cut-throat percussion, doomed guitar riffs and Potter's familiar prophecies riding all over it. Watch out for the upcoming LP dropping later this year!

Review: Mike Weis surfaced in 2009 on Digitalis and since then the release rate of his records have been few and far between, but the quality has always remained top tier. Debuting on Type - an important label for Andreas Tilliander's Mokira project - he delivers a three-track 12" opened by the wooden industrial knock, pop and click of "The Temple Bell Stops" (with some delightful electric static too". "But The Sound Keeps Coming" continues the record's theme of field-recordings mixed with busy and low-lying tribal drums and shimmering ride symbols that sound as thousands of soft feathers are being poured all over them, while the real ambient and drone piece comes in "Out Of The Flowers" where the first sign of a kick drum ever so shyly reveals itself.