Review: While there's no doubt the Middle East has stepped into the electronic music limelight in recent years, catalysed by good (a rebalancing of media focus within dance culture) and bad (controversy surrounding events like MDL Beast and the media's desperation to keep 'breaking new territory' in a world growing smaller by the day), Fatima Al Qadri is not part of this wave. A Senegal-born Kuwaiti, the US-based artist has been doing very good things for well over a decade (2010's 'Muslim Trance' mix is a must hear), creating everything from music exploring meeting points between Arabic traditions and contemporary synth work, to sound installations for renowned galleries. No stranger to Kode 9's Hyperdub, her third outing on the imprint since 2014 puts dark, atmospheric ambient out on the streets of Dakar after dark. Or something like that.
Review: ***B-STOCK: Sleeve damaged but product unopened and in excellent condition***
In line with the timely reappraisal of all things R&S related, the resurgent Apollo have seen the opportunity to bring one of their most celebrated records back for another round. Aphex Twin's ambient recordings mature magnificently with age, sounding ever richer and more emotive as the rest of electronic music continues to play catch up all around. From the gentle breakbeats of "Xtal" to the aquatic techno lure of "Tha", the airy rave of "Pulsewidth" to the heartwrenching composition of "Ageispolis", every track is a perennial example of how far ambient techno could reach even back then. It's just that no-one quite had the arm-span of Richard D. James.
Review: Coil's comprehensive compilation Moon's Milk, based on the four annual seasons and the overpoweringly doomy moods they inspire, comes reissued 18 years after its initial 2002 release. With a strong Coil member base in tow - John Balance, Peter Christopherson, and Thighpaulsandra included - the Four Phases are once again called to mind, and seem to pierce the unconscious with their incisive quietude and unsettling (dis)inhibition, most often totally electronic and droning, but occasionally peppered with faintly hollering vocals and chromatic electric viola interspersals, the latter performed by the now notable occult cleric, William Breeze aka. Tau Silenus.
Review: Craven Faults' 'Bounds' is the latest EP-length project to be outputted by the otherwise elusive Northern English artist. Once again building on his admirable, psycho-terrestrial approach - in which the artist embarks on long, restless trans-Anglican journeys as creative fuel for the alluvial fire - 'Bounds' hears the otherwise anonymous Faults trace the fault lines of the Black Country's pastoral-industrial contradiction, beginning said journey "less than 20 miles North-West of the city", and with no further elaboration than that. Side A traipses through three heat-hazed, ground-dwelling, humid humuses - the vague scrapes of heavy metallic industry looming over each mix, straddling both back and foreground - and only 'Lampses Mosse' permits much respite from the trek, via a tremblingly, relievingly spread synth bell. 'Waste & Demesne' is the B-side's epitaph for England's feudal legacy, its drawn-out basses and quavering pedal notes congregating to mourn the natural losses resulting from centuries' worth of exploitation.
Review: Never heard of Zoroastrianism? Nothing to do with Zorro, this ancient religion is still practiced by a comparatively small number of people today, and has its roots on the Iranian plateau. Hugely overlooked in the modern world, not least given its incredible influence over may of the tropes we associate with recognisable creeds - heaven, hell, good, evil - here M Geddes Gengras and Psychic Reality pay homage to the history of what might be Western Asia's most mythologised and yet misunderstood nation, while also introducing modern sonic elements and effects.
The result is something that's unarguably original. Ambient work that is vivid and transportive, it's highly rhythmic stuff from start to finish, with tracks like 'The Incremental Spirit' taking that format to the nth degree, while the likes of 'Wilde Pastures' break with a more abstract idea of what these sounds can be.
L'effet Domino (Fear Anna Jean & The Liminanas) (3:43)
Toupie (feat Ruben Kielmannsegge) (3:34)
Hi No Tori (feat Vega Voga & The Liminanas) (4:08)
Autobahn (feat Ruben Kielmannsegge) (4:32)
Poc A Poc (feat The Liminanas) (5:18)
Boomerang (5:07)
Sa Conca (1:20)
Review: Piscolabis II continues the sonic journey of its predecessor, Piscolabis I, by blending organic and robotic elements with Golden Bug's signature experimental style. The ten new tracks on this volume are even more adventurous and offer heavy rhythms with razor-sharp guitars from Lionel and distorted grooves driven by drum machines. Opener 'Paradis' is an epic choral track that sets the tone for the slow, raw, and hypnotic sounds that follow. Highlights include 'Red Wolf' featuring Phoebe Coco, the stiff rhythmic mechanics of 'Ricochet' and the psychedelic 'Hi No Tori' with Japanese guest Vega Voga. This is an album rich in sensory sounds that leave you listening in awe.
Review: Alan Myson returns once more as Ital Tek, continuing a not-so-well-cited yet important sound. There's never been much of a name for it, maybe thanks to its appearance in the meting-potty post-dubstep era - but Tek's is a sound of minimal aesthetics and glossy-wonky beats. Other artists might include Kuedo, Lorn or MssingNo (but it's not wave, witch house or purple). Genre-mindedness aside, Timeproof is Myson's fifth album for Planet Mu, following 2020's Outland for a long meander through the fluid timey-wimey nature of time, and how it varies depending on its perceiver(s)' mental states. Beaty sublimers like 'Phantom Pain' and 'One Eye Open' make this a staggering time-dilating journey, one whose appeal, true to its name, will surely last for electronic music fans decades into the future.
Review: A titanic one-off clash LP between Japan's head brain David Sylvian and electroacoustic extraordinaire Stephan Mathieu, Wandermude is a slow and sublime classic for real ambient heads. Reissued for the first time since its release in 2012, the album charts a wealth of mutual interest between both artists; the pair both collaborated first as part of a dual live performance at Noway's Punkt festival, during which Mathieu performed a live remix of Sylvian's song 'Plight And Premonition'. This LP is the result of the same creative thread - whooshing, mysterious and full of raw instrumental material translated into audacious oddities.
Review: Moondog's H'art Songs stands out as a defining moment in his illustrious career, marking the first release to omit his name from the title. Recorded in his sixties, this rare vocal album comprises ten art songs that deftly blur the lines between classical and pop music. Dubbed "H'art songs" for Hardin's art, the compositions showcase a musical sophistication that appeals to both pop and classical enthusiasts. Released in 1977, this collection enriches Moondog's eclectic discography, featuring mesmerising wordplay that conveys narratives ranging from political commentary to nature appreciation, all wrapped in poetic intrigue. Moondog's unique singing style, devoid of vibrato, allows for accessibility, encouraging listeners to join in. He intentionally simplified the vocal lines, leaving the intricate harmonies to the piano, which carries the melodic weight of the songs. This album is undeniably one of Moondog's most impactful releases.
Review: Following up the runaway success of Crooks & Lovers was always going to be a daunting task for Mount Kimbie, and they've wisely taken their time to come back with a step forwards from a sound which gave rise to the more folky strains of the dubstep aftermath. Sounding fresh and invigorated on their LP for Warp, Kai Campos and Dominic Maker have built on their love of shoegaze indie and brought their component parts into a clearer vision where they used to hide them behind heavy editing and microsampling. There are plenty of reminders that this is a Kimbie record, not least in the winsome melodies that shape the LP, but the duo have succeeded in shearing away their self-conscious trickery to write full-bodied songs that hit on first listen, rather than ten spins down the line.
You Look Certain (I'm Not So Sure) (feat Andrea Balency)
Poison
We Go Home Together (feat James Blake)
Delta
TAMED
How We Got By (feat James Blake)
Review: Since first emerging on Hotflush at the tail end of the last decade, Mount Kimbie has navigated the post-dubstep landscape better than almost any other act. It says something about their transformation into hard-to-define electronica heavyweights that Love What Survives, their third full-length and second for Warp manages to be both surprising (there are subtle nods towards titans of post-punk pop and rock, for starters) and exactly what you'd expect. They're masters of fusing disparate styles, sounds, textures and beat patterns into beautiful hybrid shapes, and this kind of 21st century fusion is evident throughout. Naturally, there are a few notable guest appearances dotted throughout, with James Blake's two contributions amongst the album's many highlights.
Review: OKRAA's La Gran Corriente represents a significant creative turning point for Colombian-born Juan Carlos Torres Alonso. Released via A Strangely Isolated Place, the album follows a transformative experience Juan had in Bogota in May 2023. It was there that he encountered what he describes as "an infinite current behind or inside of everything," a revelation that completely changed his approach to music. Scrapping earlier demos, Juan embraced a more fluid and organic style, abandoning fixed grids and BPMs, and tapping into the spontaneous energy that characterised his other production alias, Laudrup. The result is a hypnotic journey through time and space, as the album's non-linear structures give way to unexpected yet cohesive sonic moments. 'La Gran Corriente' features "happy accidents" throughout, subtle production quirks that contribute to its distinct sound. Central to the project is a poem written by Juan, weaving reflections on time and reality into the fabric of the music. Lines like "the land of oblivion is not real" and "time is an illusion" form the backbone of the album's philosophical undercurrent. The album's release is paired with artwork by Peter Skwiot Smith, with the 2xLP available on limited edition coloured vinyl, fully mastered by Taylor Deupree.
L'ange-feu Danse En Six Parties (Chiffre 6) (4:58)
Epreuve Des Flammes (Chiffre 7) (7:16)
Paradis Terrestre - Beatrice (Chiffre 8) (2:07)
Transparence (Chiffre 9) (9:38)
Figure Superieure (Chiffre 10) (0:51)
Paradis (21:13)
Review: Divine Comedie stands as a remarkable collaboration between Bernard Parmegiani and Francois Bayle, released by Recollection GRM as a comprehensive four-LP set, complete with a poster. This ambitious work draws inspiration from Dante's epic, offering a sonic journey through hell, purgatory, and paradise. Parmegiani's segment, representing Inferno, is an intense exploration of anguish and contradiction. Composed between 1971 and 1972, it features piercing synth whirs, haunting vocal chants and insect-like sounds that evoke a sense of despair. His careful manipulation of Michel Hermon's voice serves to anchor the chaotic soundscape while simultaneously distorting the narrative. This approach results in a chilling audio experience that combines surreal sound design with an almost theatrical presentation. In contrast, Bayle's Purgatory embraces a minimalist aesthetic, employing Hermon's voice with a sense of clarity amidst an intricate layering of abstract sounds. His composition reveals a bleak serenity, punctuated by flickers of hope that emerge from a rich mixture of drones and organic instrumentation. The final album, Paradis, is a collaborative effort that gradually leads listeners toward illumination. Stripped of narration, this 22-minute piece unfolds slowly, interweaving delicate electronics with celestial vibes and vibrant accordion melodies, culminating in an ethereal crescendo. Together, Parmegiani and Bayle create an audio experience that challenges conventional boundaries, transforming Dante's vision into a wonderful exploration of sound and emotion, making Divine Comedie a significant addition to the genre of musique concrete.
Review: Sevdaliza comes back with a seance album that capitalises on the critical reception of her first, exploring notions of good and evil through complex songwriting and enigmatic lyrics. Her stylised vocals are front and centre of each tune, with sombre chords and aching piano a consistent accompaniment throughout. She explores many shades of night and packs in plenty of very real emotion, despite the delicate nature of many songs. The gothic synths and post-trip hop beats are a fine vehicle for her musical messages, making this another vital record.
B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition
Doudou Bourbon (6:12)
Extra SZ (5:31)
Spleen Boy (3:36)
Dance Or Die (5:10)
Spread Love (4:39)
Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***
American label Peoples Potential Unlimited has cared out its own superb niche in the world of heart aching, lo-fi funk. But here a new catalogue number seems to suggest a new series. It kicks off with French collective Spaced Out Krew and their timeless, boogie driven disco funk. The music was written during 2020 by Spleen3000 and Marius Cyrilou of Ceeofunk and right from the first note of 'Doudou Bourbon' it is pure class. There are starry-eyed melodies, rasping basslines and curious vocals that all add up to a nice cosmic disco sound.
Review: The 20th-anniversary edition of Squarepusher's Ultravisitor showcases Tom Jenkinson's groundbreaking blend of live and studio recordings, remastered for new depths of sound. Spanning frenetic breakbeats, jazz-funk explorations and atmospheric fusion, this album captures the complexity and eclecticism of Jenkinson's work. Tracks like 'Iambic 9 Poetry' deliver sunlit jazz tones, while 'Tommib Help Buss' brings serene electronic bliss. Although Ultravisitor might feel overlong at nearly 80 minutes, its sprawling length doesn't diminish its innovation. The title track encapsulates Squarepusher's signature drum-n-electro-pop, while pieces like 'Circlewave' and 'I Fulcrum' balance virtuosity with thematic exploration. Jenkinson's improvisational drumming and bass solos, such as on 'I Fulcrum', demonstrate his command over both instruments and composition. Jenkinson's eccentricity shines through, making Ultravisitor an essential listen for both long-time fans and newcomers. This edition reaffirms Squarepusher's pioneering role in electronic music, blending technical brilliance with intriguing, if at times chaotic, compositions. It's a record that intrigues and impresses, pushing the boundaries of beat-driven electronic music.
B-STOCK: Sleeve damaged but otherwise in excellent condition
Squarepusher Theme
Tundra
The Swifty
Dimotane Co
Smedleys Melody
Windscale 2
North Circular
Goodnight Jade
Theme From Ernest Borgnine
UFO's Over Leytonstone
Kodack
Future Gibbon
Theme From Goodbye Renaldo
Deep Fried Pizza
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
This special anniversary edition of Squarepusher's debut album Feed Me Weird Things is released almost exactly 25 years to the day after the original. Back then it came on Aphex Twin's now defunct Rephlex label and has not been available on streaming platforms ever since. All remastered from the original DATs and with a new, original booklet filled with note and ephemera it is an essential cop for fans old and new. The record broken out of the tight genre restrictions of the time to pair complex rhythms with disarming melodies.
Review: Vangelis is one of the most celebrated composers of our time. Beaubourg was his fourth album and came in 1978, featuring just two nearly twenty minute long suites, with one taking up either side of this vinyl. It is a difficult and challenging work, even the artist himself admitted, and is an avant-garde concept piece inspired by the "architecture of the homonymous complex area," specifically Centre Georges Pompidou in Paris. Showing a different side to the producer, the record went on to sell well but still proved his last for RCA. It leaves heavily on the use of a ring modulator and improvised playing on the Yamaha CS-80.
Porter Brook - "Three Things You Can Watch Forever" (5:58)
Ayu - "Light & Reflection" (4:51)
Atavic - "Subconscious" (5:30)
Tammo Hesselink & DYL - "Accent Award" (5:10)
Plebeian - "Gowanus" (5:05)
Review: Aaron J's Sure Thing kicks on towards its tenth release with a superb new 12" packed with fresh techno jams. Myriad different mods, grooves and tempos are on offer here starting with the puling rhythmic depths of Vardae's 'Pahlevan' then moving on to Kick21's 'Bright Interface', a dark and haunting low-end wobbler. Atavic's 'Subconscious' is a heady one with ambient cosmic pads over deeply hurried, supple rhythms then while Tammo Hesselink & DYL combine to mesmeric effect on the carefully curated broken beat brilliance of 'Accent Award.' A forward-thinking EP for sure.
Review: Marking its first decade of activity, Blume returns with the first ever vinyl reissue of the seminal New Music for Electronic and Recorded Media, from 1977, the third and final instalment in a suite of releases that includes James Tenney's Postal Pieces and Ben Vida's Vocal Trio. Distinctly a standout compilation in the feminist avant-garde hall of fame, New Music For Electronic & Recorded Media compiles individual pieces from the likes of Johanna M. Beyer, Annea Lockwood, Pauline Oliveros, Laurie Spiegel, Megan Roberts, Ruth Anderson, and Laurie Anderson. Centring on the Ptolemaic turn towards female inclusivity, amidst the Copernican metastases of aleatory and generative music in the 1970s, the various sonic effluvia here range from buzzing pulse wave gallops through abstracted Northeastern American fields (Spiegel's 'Appalachian Grove I') through to primal minimalist abreactions (Megan Roberts' 'I Could Sit Here All Day') and pitch-whacked, satirical, musical-saw-backed anti-performances (Anderson's 'New York Social Life').
Only Love From Now On (with Johanna Scheie Orellana) (8:02)
Subtle Bodies (4:58)
Silueta (5:50)
Portals (4:18)
Review: Norwegian-Mexican artist and producer Carmen Villain was born in the US, so has a pretty global sound and wide sphere of influence. Only Love From Now in Small-town Supersound is her fourth studio album and is another beguiling and tightly woven tapestry of atmospheric sounds, field recordings, woodwinds, percussion, samples and synths. Elements of forth world, dub and ambient characterise the grooves and make for a deeply immersive world of steady rhythms, hypnotic melodies and mysterious sonic artefacts. At times loopy, at others loose and improvised, it is an essential listen once more.
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