Yeah X 3 (Sonic Boom & Panda Bear Reset remix instrumental)
Yeah X 3 (The Vendetta Suite Reason To Drift mix)
Yeah X 3 (The Vendetta Suite Reason To live mix)
Review: Yeah X 3, the latest single from David Holmes and Raven Violet's album Blind On A Galloping Horse, diverges from the overtly political themes of the record, instead offering a personal revelation. Featuring remixes by Panda Bear and Sonic Boom, as well as The Vendetta Suite's Gary Irwin, the single showcases diverse experimental approaches. For the A-side, the remixes are atmospheric and heady, creating a euphoric feeling with your head in the clouds. The second remix being the more beat forward version. For the B-side, massive amounts of sound heavily affected the remixes processing. The first being more of an ambient version while the last version is more straightforward and radio friendly. If you like the original song, then these versions will sit alongside them very well.
About Tape (feat Brian Eno - Peter Kruder remix) (9:48)
Origami II (Takamovsky remix) (4:11)
Himmer Uber Lima (Ken Hayakawa remix) (6:59)
Review: Coming through in a limited quantity of 500 copies for Record Store Day 2015, Hans-Joachim Roedelius and Christoph H. Mueller - two heavyweights of the German electronica tradition - offer up their tracks from the previously released Vienna EP for a bit of remixing action. "About Tape" features the great ambient master Brian Eno, but rather than just leaving it loose and hollow, Peter Kruder rewires the tune into a delightful blend of subtle tribalism and airy atmospherics; on the flipside Takamosky blends docile piano keys into more mechanical beat patterns with his remix of "Origami II", and Ken Hayakawa transforms "Himmer Uber Lima" into a laid-back, almost Balearic house cut. Wunderbar!
Review: After four years of work fusing acoustic and electronic sound worlds, Rand finally unveiled the fruits of their labours with Peripherie. The duo of concert pianist Jan Gerdes and minimal techno producer Dr. Nojoke have cooked up urban and sensitive music for piano and electronics that was all recorded live with no overdubs back in 2019 at Berlin's Chez-Cherie Studios. It was made across three pianos with improvisation at the heart of the process. It's a great collision of worlds, from dark and intense pieces of pulsing techno to more light and hopeful and empty soundscapes that perfectly blur the edges between the different tools used. Fans of Nils Frahm, Alva Noto and Ryuichi Sakamoto will enjoy digging into this one.
Review: Lukid and Tapes are on a proper roll with Rezzett at the moment, following up on a knockout 2023 on The Trilogy Tapes with this self-released clutch of weirdo techno-not-techno nuggets from the outer reaches. There's distortion in abundance, and a laissez faire approach to soundsystem impact in favour of textural, atmospheric sculpting. It's dripping with intention even as it stumbles inquisitively from one lo-fi tweak to the next, sounding utterly inspired and delightfully unhinged in equal measure. What's most important is the melodic warmth which peeks through the noise, edging this above the usual murk associated with noise-doused electronics.
Review: Vocalist and poet Roger Robinson has connected with Jabu producer Amos for this new single which finds them explore new grounds. After their fuzzy lovers rock outing last time out, here they head off into space with more cosmic and zoned out sounds full of intimate and slo mo grooves. 'Summer' goes first and is a blissed out cut with ambient pads and lonely piano keys encouraging you to get lost in deep thought. 'Feel Bad Smile' is even more of a cosy late night cuddle, with spoken word mutterings and lingering notes breaking your heart each and every time.
Review: Following 2023's When A Worm Wears A Wig, Robin Stewart returns with Crinkle and delivers a set of warped dub techno tracks that apply advanced dub logic to precise, pointillistic rhythms. Channelling influences like Peder Mannerfelt and Rrose, Stewart revives classic genre tropes with a fresh perspective that dives deeper into the physicality of sound and focuses on bass throbs over aggressive kicks. Standout tracks like 'Stomach' surprise with lolloping off-grid beats soaked in lysergic textures while 'Compact' delivers a more traditional peak-time vibe with innovative processing. The title track brings everything together with mind-bending spectral rhythms.
Review: While not as widely known or celebrated as those who came in his wake (and cite his work as an inspiration), Rephlex alumnus Bogdan Raczynski makes music every bit as alluring - and, like one of those he influenced, Richard D James, a fan of playful press releases and eye-catching interview quotes. He's variously described his amusingly new title as an AI-made attempt at EDM, the soundtrack to a rejected Tesla infomercial, a collection of ten-year-old tracks and a bid to crack "the lucrative coffee shop playlist market". Whatever the truth, it's a melodious, warm and ear-catching collection of cuts that flits between cheery electronica, off-kilter IDM, immersive and maximal club cuts, joyful ambient soundscapes and short, sweet numbers that refuse to outstay their welcome. Another winner from a master of his craft.
Review: Mute began reissuing some classic albums from Recoil last year and already they have vanished so this is another pressing of one of their best - from former Depeche Mode member Alan Wilder. 2000's Liquid is thought to be one of his best works as he delves into dark and involving electronic worlds with its hypnotic and deeply charged charm. Its moods - desire, fury, and violence - are paired with self-reflection that encourages you to go deep inside yourself while listening. There are haunting and ghoulish moments of intensity like 'Strange Hours' next to more soothing trip-hop cuts like 'Breath Control'.
Review: RRUCCULLA finds fresh new ground to explore here on his new Zero Freq album for Lapsus. It is a wide-ranging one with vastly cinematic tracks taking you on a trip through magnificently realised compositions that pair electronic sound design with an almost orchestral architecture. The tracks sound both synthetic and abstract but organic and real world. Rhythms range from dubby and persuasive to barely there at all. In combining such grand ideas with relatable structures the Spanish composer, percussionist and multidisciplinary artist once again shows why he is in a class of one.
The Fatberg Which Weighed As Much As Three Elephants
The Boeing 747-Sized Fatberg
The Double-Decker Bus-Shaped Fatberg
Slithering Fatberg
Huge & Disgusting 300 Tonne Fatberg
Review: Via their Rubbish Music project, Kate Carr and Ian Chambers use sound to, in their words, "investigate the journeys, transformations and impacts of everyday objects". In the case of their 2022 debut album Upcycling, that meant creating new experimental sound worlds from all manner of discarded things. On sophomore set Fatbergs, they turn their attention to the oily, greasy clogs that form in our sewage system. In practice, that means a mixture of ghostly electronics, gurgling and effects-laden noises of unknown origin, creepy and immersive soundscapes, echo-laden bells, dystopian new-age compositions and unusual - but surprisingly meditative and heady - ambient epics.
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