Review: Fresh, warm and spontaneous - brainwave research center's eight track debut album is everything that electronic music sometimes forgets to be. Recorded and produced in the back of Smith's synthesizer/electronic repair shop, Specs Sales & Repair, in Greenpoint, Brooklyn, the project is a joint collaboration between NYC-based house/techno producer, Chase Smith (W.T. Records, Apartment, is/Was), & documentary filmmaker, Christa Majoras (School of Visual Arts).
Described as a distillation of influences from experimentalism of Steve Reich, Laurie Spiegel and Black Dice, the 90s ambient techno of The Orb and Pete Namlook/Fax and more motorik flavours like Kraftwerk, Suicide, Manual Gottsching, it's a gentle but lively affair from the Art Of Noise-esque 'ah ah ah ah ah' and bubbling jam 'Bird Brain' to the epic arpeggios v guitar closer 'Day Dreaming'. This is first of four releases that the artist has planned, but there's certainly enough here to get your teeth into for now.
Review: Brainwave Research Center is back once again with another superb album, and once again Chase Smith and Christa Majoras embody a unique DIY sound crafted from analog synthesizer experimentations. This is another entry into the duo's initial four-part series and it encapsulates the essence of summer. The A-side commences with a dreamy narrative that transitions into the gritty urban landscape of Brooklyn in 'Interceptor iii,' and concludes with euphoric sunset vibes. On the B-side, the music delves into the sensation of falling in dreams, reminiscent of their second album Mosaic, again blending electronic and acoustic elements. Feel Free, then, invites listeners into the everyday musings of Brainwave Research Center and is a classic listen for fans of locked-in rhythms.
Review: The arrival of a new Cabaret Voltaire album - the first since 1994 according to our records - should excite all those who hold the work of the pioneering Sheffield outfit dear. It's now a solo project from Richard H Kirk (he decided to keep the name after parting company with Stephen Mallinder in the late '90s), but the distinctive stylistic ticks remain (think paranoid sonic textures, metallic percussion hits, clear dub influences, plentiful spoken word samples, curious electronic noises and nods towards the industrial funk, EBM and post-punk). Naturally it's not as ground-breaking as Kirk and company's work in the '70s and '80s, but it is undeniably a Cabaret Voltaire album - and one that subtly updates the Cabs' particular brand of dense, dancefloor-ready paranoia for a new century.
Review: Berlin Atonal returned two years ago from a long hiatus, 23 years to be exact. After three tremendous festivals this decade, they now present us with their first recordings since 1984. These particular ones from the 2014 edition. Cabaret Voltaire (in this incarnation featuring only Richard H Kirk) was a true highlight and contributes "Microscopic Flesh Fragment" and "Universal Energy". One half of Demdike Stare Miles Whitaker went solo, presenting his truly unique take on techno, and the slow burning attitude of "Vagabond No. 7" is evidence of this. New Zealand's Fis also appears; rather uncategorisable as always on "Dist CL (Atonal Version)." On the third disc we have Northern Electronics main man and modern auteur Abdulla Rashim presenting two commissions from his captivating atmospheric set that year. Limited to 700 copies.
Review: As the Houndstooth roster becomes increasingly diversified with age, so Call Super remains the label's brightest star. Responsible for inaugurating the Fabric-housed operation, J R Seaton has subsequently gone on to deliver some of their best 12" offerings and the time feels right for the Berlin-based producer to show his hand at full length albums. In contrast to the techno-focused approach of his Call Super 12"s, Suzi Ecto finds Seaton expanding on his palette with 11 tracks that veer wonderfully between moments of electronic poignancy and more thrusting fare. Spend some time with Suzi Ecto and you'll find it to be one of this year's most rewarding listens with new favourites emerging with each cycle - "Raindance" is the current fave here at Juno HQ.
Review: Call Super has always been something of an underground darling - one of those untouchable artists with next level skills in the club, and a unique studio sound that excites even the most hardened and passionate fan. 'Eulo Cramps' is the artist's fourth album and one from the centre of a multifaceted project they call 'Tell Me I Didn't Choose This' which includes poetry, auto-biographical writing, painting and music. It is full of personal reflections and his signature melding of jazz, electronica and the unique voices of Julia Holter and Eden Samara. Though adventurous and experimental, it is an album steeped in very real emotion which we can all connect to.
Review: Mute and Spoon Records continue in their CAN retrospective bout, following up the first two parts of the long-lost CAN live series ('Brighton' and 'Stuttgart' respectively) with further re-releases of their best known albums. 'Soundtracks' - their 1970 album in which every song was written with the intention of being included in various German films including Deadlock, Cream and Deep End - here gets a limited purple vinyl reissue. Functionally, though, the music could form a standalone conceptual CAN album in its own right. It's also full of the dramas that go hand in hand with your usual LP output; this album marks the point at which the original vocalist for the band, Malcolm Mooney, was replaced by Damo Suzuki.
Review: Donato Dozzy has long been one of techno's most inventive and singularly minded talents. Even so, this latest full-length - his first since 2013 - is pretty conceptual. There's something more than a little Matthew Herbert-esque about Dozzy's desire to create an entire album out of the near operatic vocals of Rome-based singer Anna Caragnano. Using nothing but her voice - harmonies, solos, grunts, whispers, speech and dreamy freestyle passages - and a swathe of sound effects, Dozzy creates a rich, evocative, often spine-tingling range of largely ambient, otherworldly tracks. There are occasional rhythmic passages, of course - see "Festa (A Mattola)" in particular - but for the most part the Italian producer concentrates on textures and atmospheres. The results are rarely less than beguiling.
Review: Caribou shares his latest record, this time for City Slang, Honey. The timely follow-up to 2020's Suddenly, Honey comes preceded by the forerunning singles 'Broke My Heart', 'Volume' and 'Honey'. Caribou aka. Dan Snaith has more than proven his mettle as a multifarious artist, with the toweringly popular Odessa album only scratching the surface of what could otherwise be described as a much more experimental, tricky and salubriously varied discography. Honey plays up the pop-oriented capabilities of Snaith's many-tentacled sound, circling the intentionally mystified identity of the artist himself; 'Come Find Me' asks the listener to come find Snaith, while its corresponding music video features a childlike figure in a Brave New World-style jumpsuit, dancing to the song, as if to suggest a coquettish playfulness, poking through the swellingly progressive, end-of-summer house track. Adding to the pangram of bright and hopeful post-folktronica hits, Honey is sure to attract all the late-summer dance bees.
Review: Honey stands as a distinct entry in Caribou's evolving catalog. Dan Snaith has always been known for reinventing his sound with each release, and this album is no exception. It represents a continuation of his journey, combining the rich, pop sensibilities he's honed over years of music-making. Following the deeply personal themes of his previous albums, Suddenly and the Grammy-nominated Our Love, Snaith shifts focus on Honey to explore more universal themes. The album seamlessly merges the infectious energy of his Daphni project with the emotive, uplifting qualities that define Caribou. Tracks are built for the dancefloor, bursting with unexpected twists and vibrant layers that only Snaith can deliver. Honey doesn't feel like a departure from Caribou's past, but rather a natural progression that unites his dual identities. The album is a testament to Snaith's restless creativity, as he continues to push boundaries and refuses to be confined by any single genre or approach. This release excels through sound and emotion.
Review: This enigmatic recording, ahead of its time upon release, features Caroline K's pioneering approach to analog synth music and sample experimentation. Tracks like 'The Happening World' demonstrate her focus on dark ambient and drone music, while 'Animal Lattice' offers a haunting juxtaposition of high and low notes, reminiscent of early Dead Can Dance. 'Between The Spaces' explores a range of atmospheres, from new age to dungeon synth, with ethereal undertones. Caroline K's use of background noises and found sounds adds depth and texture to compositions like 'Leaving,' leaving a lasting impression on listeners. Now Wait For Last Year remains a lasting legacy to Caroline K's innovative spirit and her enduring influence on ambient, dark ambient, and electronic music. This brilliant trip into experimental ambience will impress everyone from soundtrack lovers to those who are into darker electronics.
Review: Expanding on the ever-present fervour for classic industrial music, CTI's Elemental 7 lands in our laps, a reissue of the soundtrack to their 1982 film of the same name. Devastating and brutal sound effects are paired with haunting vocal performances on this two-suite clanker for the ages, while the accompanying video features cut-up video clips and dancing ghosts, while nods in the titles refer to seances and exorcisms. Don't pass on this one, as it's not just any old soundtrack; underwater worlds and vaporeal explosions make up its more unusual sonics.
Review: It only seems like yesterday when Nick Cave delivered his wonderfully captivating joint piece with fellow-Australian Bad Seed Warren Ellis. In fact it was early March, and since then we've all likely been through the kinds of highs and lows this record reflects so accurately. There's a lot of space to Carnage, but it's also an album of intensity, in a refined and sophisticated way.
Packed with incredibly cinematic, theatrical and dramatic moments, at its loudest 'White Elephant' is bordering on a genuinely euphoric religious experience, one rousing and hugely emotional crescendo of chorus and big stage notes after another. At its quietest, 'Shattered Ground' sounds like one man alone with a piano and eternal sadness. Meanwhile, the title track is classic troubadour business. In summary, a grand, mesmerising and personal voyage.
Review: Ceephax Acid Crew's Exidy Tours album was first put out on Firstcask Records in 2003. More than 20 years on, it has only grown in stature among lovers of eccentric electro. Says the artists, who has plenty in common with peers like Squarepusher, Aphex Twin and DMX Crew, the album was "a selection of my styles and ideas at the time, ranging from drum n bass, ambient to acid." The tracks are mostly short but all make a massive impact in that brief time, with acid driving from most synths as the thrilling drum programming sweeps you off your feet.
La Victoria (feat Lido Pimienta & Manu Ranks) (3:58)
Kawa Kawa (feat Kaleema) (4:00)
Alegria (4:46)
Indios Tilcara (3:45)
Gira Gira (1:59)
Review: Chancha Via Circuito, AKA Argentine producer Pedro Canale, has a reputation for doing things differently. This often manifests itself in eccentric but thrillingly forward-thinking productions that join the dots between traditional South American rhythms and instrumentation, dub, hip-hop and contemporary bass music. On his latest full-length adventure - his first for nearly three years - Canale pushes the envelope further, serving up a mixture of breezy, sun-kissed takes on traditional Colombian tropes, dusty, bass-heavy hip-hop instrumentals, mind-altering South American electronica, hazy ambient interludes and life-affirming tropical pop. The result is a joyful and vibrant set that could be the producer's strongest work to date.
Review: French outfit Chateau Flight have spent two years in the studio making music, playing around and experimenting and now the fruits of that work are presented on this new album La Folie Studio. It is full of the sound of analogue machines conversing and the artists themselves speaking through their darkened basslines or eerie pads. Occult worlds are crafted, ambient soundscapes are cooked up and leftfield cosmic explorations occur throughout a journeying album full of a wide range of emotions. This lovely record features guests on the odd track such as Johnny Nash on guitar, Cosmic Neman mumbling on 'Mange', John Cravache playing 'his special organ" and Bony Bikaye singing on 'Esika Molimo Ezali'. It's an occult world of left of centre sound that will keep you coming back for more.
Review: CHBB was a project by Beate Bartel and Chris Haas that developed from a collaboration first embarked upon in 1981, while working on the self-titled album Liaisons Dangereuses. After initially releasing their music only on four limited cassettes, this compilation from Soulsheriff flaunts their complete works, including all recordings from the original tapes paired with several new and original tracks by each artist. One can hardly tell the difference between original and new here; from the surreally throat-sung contraltos of 'NBKE' to the jankily strange doubletimes of 'Bali', from the the warbly hypnotisms of 'Shapeshifter' to the womping-kicks-over-German-language-incantations of 'Ima Iki-Mashoo', there's an industrial, experimental treat here for everyone.
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