Review: Well Curated is a series of releases and parties that - in its own words - "reflects the ethnomusicology of the last 50 years of music" - and aims to reach into all genres, merging classic styles and breaking down barriers. Steve Spacek occupies the A-side with the breezy broken beat and soul-in-space of 'Alone In Da Sun', while Lukid's 'Hair Of The Dog' is a more intense counterpart, with wobbling sub-bass and swirling, surging atmospherics hovering above.
Roman Flugel - "More Is Not Enough (Heaven Or Hell?)"
Lauer - "Hector"
San Laurentino - "Final Landing"
Tuff City Kids - "People Is A Crackhead" (Tuff Hamlet riddim)
Review: Established as a record label some four years ago, Live At Robert Johnson have really come to the fore as representing the best of contemporary European deep house alongside the likes of Dial and Running Back. Here, the Frankfurt institution returns to their recent triumphant Lifesaver compilation with this addendum 12" release featuring the productions from Roman Flugel, Lauer, San Laurentino and Tuff City Kids. Flugel opens proceedings with the rough and moody "More Is Not Enough" which brandishes a beat that can't help but get in your face. This is complemented by the calmer, sumptuous New Beat stylings of Lauer's "Hector" and the richly colourful "Final Landing" from San Laurentino. "People Is A Crackhead (Tuff Hamlet Riddim)" is not only the best track title in a hot minute but yet another original dancefloor slayer from Gerd Janson and Lauer's Tuff City Kids, opting for the Germanic digi dub meets tuff house route.
Review: NX12X is the first in a new series of experimental records from this label and the artists given the keys for the inaugural release are Goldsmiths student and modular synth maestro Sam Hostettler and electronic innovator La Leif who tackle a pair of tracks each. Hostettler's sounds are the moody, heavy ambient atmospheres of 'Pointalims' and the more light and airy li-fi soundscapes of 'Opalescence.' La Leif offers broken beats with a skeletal feel and a burial-style synth aesthetic on 'Kyoto' and then crunchy breaks and fizzing, distorted synth malfunctions of 'Kimochi.'
Review: Glasgow's Lanark Artefax hasn't dropped a new record in around four years but now breaks that hiatus with a fresh EP on AD 93. These five cuts are all precision moulded for maximum impact, and they all very much sound like they have come back from the future. 'Surface Light' rides on lurching beats and pristine lasers cut them up as reflective metal surfaces twist and turn. 'Metallur' is double time, mind-melting and overdriven synth madness with a jittery rhythm propping up the melodic madness. 'Meszthread' is serrated electro with edges so sharp they might cut you and 'Tris' then take a moment to wallow in some dramatic synthscapes. 'At The Bay' soundtracks the end of the world with a real sense of doom and finality.
Review: Tape Reworks Vol. 2 is the new 12" remix edition of the 2021 album Tape Works Vol. 1 (2021), by the UK's leading musique concrete ensemble Langham Research Centre. With the latter album following up the introductory Tape Works Vol. 1 (2017), which recollected the group's earliest experiments, the second album focused entirely on more recent, original splicings, cuttings and respoolings of the former modernist statement. Now, in turn, come two new remixes of the project by Kara Lis Coverdale and Beatriz Ferreyra, the former of 'Movable Fields' and the latter of 'Nachholbedurfnis'. Coverdale's version is an arresting, looming abstraction, capturing a sense of cosmic loneliness through exoplanetary whistles and deep subs gleaned from the original album's pickups of brutalist buildings; Ferreyra's is jerkier and stranger in palate, utilising glassy transitional sound effects and rapid, sped-up-slowed-down warbles.
Review: The MIC label has undoubtedly been one of the best things to happen this year. The London independent kicked off a few months ago with an excellent hidden gem by Mike Collins, a fringe drum machine enthusiast from the 80s, which was a record that we saw as totally unmissable (and one which flew of our shelves like hotcakes!). The imprint is back with LAPS, a cold wave duo who are making similarly stripped-back machine music, except that these two girls have only been around for a few years. This is a great signing from an indie, because it's the sort of crew that will likely be picked up by a bigger label in the future. The duo's sounds linger in mid-air beautifully, from the opening shots and burst of "Gush", to the more dancehall-flavoured chants of the leading "Who Me?", and the pensive twists and turns of "Ode To Daughter". "Edges" oozes a thick bass amid stepping drums, whereas "Lady Bug" offers the only real moment of r&b delight, all filtered through a raw and loose sort of framework. Top stuff. We love this label.
Review: It's pretty hard not to fall in love with Macadam Mambo at first contact. The French label represents the cream of Lyon's underground, a city that has for some time now been a quiet powerhouse of electronic and dance music, developing a reputation for strange, leftfield floor-filling sounds spanning slow burn chug, experimental tropicalism, Balearic and cosmic house.
Enter Axel Larson to prove our point with real precision. L'Ete Noir is an incredible EP, packing a generous six tracks on its wax, all of which are awesome. From the knife-edge atmosphere of poised and percussive rumbler 'Hygiene Du Squelette', to the downtempo joy of a track that feels like it's built largely on the sounds of dripping water and reversed rave keys ('Le Pyromane Du Chateau Rouge'), there are so many layers here you'll be busy for days.
Review: Le Motel, le hotel, les Holiday Inns. Wherever you choose to stay after your raving trip, be sure to pack this wonderful collection from the innovative Belgian craftsman Le Motel. Delivered by the ever-impressive Yuku collective, the whole EP flexes the spectrum in terms of tempos and influences. From the deep ploughman techno swing of 'Raving Crew' to the electroid funk and percussive fire of 'Helix' via the cumbia-inspired and turns of the minimal head-bender '429 Too Many Requests', this is an exceptional journey into the more esoteric side of breaks and club music. Essential.
Review: Contemporary tastemakers Geilgling return with a set of remixes of material from Leafar Legov's recent album, Mirror. First up it is German minimal maestro Isolee who flips 'Fade' into some of his signature sounds - smeared synths and abstract designs all weave together over a minimal beat to make for something seductive and late night. Polish loop master Jan Jelinek then flips 'Fade' into a slow motion shuffle with bright, celestial shards of melodic light and downbeat, melancholic vocals over a chugging beat. Last of all is a mix of 'Jing' that is all broken loops, chopped vocal fragments and hallucinogenic synths.
Review: LIMC's Ramp EP is a perplexing thing. Released by Germany's Inch By Inch this year, it sounds like it was born in simpler times, while also being a complex piece of work by anyone's standards. Downbeat? Certainly in terms of tempo, but perhaps not so much when it comes to how you take in the contents, which are designed to keep you hooked rather than play easy on the mind.
IDM? Maybe, there are few genre labels more fitting, although to us it really sounds more like an accomplished, refined, and sophisticated retro-hued video game score looking for a home and finding one not in the colourful on-screen antics of some bright-eyed playable, but the sound systems of forward-thinkers everywhere. A great, if obscure, one to own.
Review: Here we have the remastered edition of Robert Lippok's Open Close Open. Originally released in 2001 on the well-respected German glitch ambient label Raster Noton, the release has built a strong buzz about it. Late last year, the decision was to remaster the EP to the delight of the fans. The first 'Open' is very minimal with a very sparse beat to it. Glitch ambient and the cuts and click style of that period is wonderfully represented by this sound. To most fans of the release, 'Close' is the reason for the buzz. The combination of field recordings, glitch and a beautiful almost movie like soundtrack to it, makes this piece one of the most beautiful ambient pieces in the genre of glitch ambient. Hearing this remastered, really brings out the beauty even more so. This new version also features the very worthy piece 'Licht' to close out the release. It is very fitting that the amazing Morr Music honor this piece by releasing it.
Review: While there is barely any solid information as to the identity and ideals behind the Lokal Affair project, this is the sort of material that speaks for itself, and one which has successfully tapped into the current state of affairs in the electronic game. This badass EP lands on the increasingly relevant Boomarm Nation, and carries three killer infusions of cryptic pseudo house and ethnic rhythms for the more open-minded DJ. If there was such a thing as 'small-room tools' then these would be it; watch out for the Alter Echo remix on the flip, too, as it's a rather voracious affair for the dance. Big ol' tip here!
Review: Lurka is back on his own label Damage which is a place for harder-edged sounds and here includes remixes from Ossia. The one original, 'Red', is a thrilling rhythmic workout with a skeletal kick drum pattern that is broken and loopy, and deft percussion layered in over the top next to wet synths and undulating bass. Ossia's first rework spins it out into a more distorted and manic cut fizzing with static electricity while the second is slightly more paired back but no less menacing. This one has been mastered at Scape in Berlin and is mad limited to just 100 copies so do not wait around.
Review: The ever-popular and always innovative Dark Entries welcomes Lust Pattern for more deviant electro explorations here and i isn't the first time the artists has graced the label in such fashion: Ryan Armbridge has previously done so as Linea Aspera many times before, exploring coldwave revivalist sounds alongside Zoe Zanias. With this alias, though, he looks to post-punk and electro-funk for inspiration. Opener 'Forming Lines' is redolent of Drexciyan squelch with plenty of live drumming powering it on. 'Choreography' has a similarly aquatic feel but with faster drums and more urgent funk and 'It's Right There In Front Of You' then slows to a predatory and menacing crawl. 'No Floor' is a motorik workout with the squelchiest of mutant synth sounds and rickety rhythms.
Review: Outlier experimental label Eating Music brings back more for us to chew on here in the form of a varied four tracker from various artists. It is Mindexxx that opens with 'Track 1' which layers up snaking synths and deeply buried dark bass that grows in intensity and washes over you like a Tsunami. Laughing Ears then cuts back to a tender mood with soft piano chords and slowly unfolding rhythms that are warm and lithe. Gooooose's 'The Dusk Of Digital Age' is a churchy affair with textured drones shot through with beams of synth light and Knopha's 'Off-Peak Season Tourists' layers up choral vocals and jumbled drum sounds into something hypnotic and escapist.
Review: Gong bath, anyone? Soft & Fragile is a three track outing built on a framework of custom made bells and chimes, at least one of which was created by the artist - namely Bandt's 'flagong', a three-story glass marimba the musician crafted in the late-1970s, apparently inspired by the so-called 'cloud chamber bowls' of Harry Patch, a chap known for developing weird and wonderful sound-making devices.
She uses the instrument to stunning effect solo on the opening effort, 'Ocean Bells', creating a gently flowing arrangement that sucks you in quickly. From there, she's joined by Julie Doyle, Gavan McCarthy, and Carolyn Robb to complete the full LIME (Live Improvised Music Events) lineup, and the work becomes more complex still, without ever being overbearing or overly theoretical.
Review: Pierre Bastien has a strong team record of interesting collaborations. He's done stuff with fashion designer and scent mogul Issey Miyake, legendary singer and composer Robert Wyatt, and the enigmatic electronic producer and reality-shifter Aphex Twin, releasing no less than three full length records on the latter's landmark label, Rephlex. "A mad musical scientist", the Guardian once quipped, and C(or)N(e)T doesn't break from that tradition. Instead, it offers some of the most abstract and strange, beguiling and fascinating sounds we've heard in a while. At least a few of which have been made on self-made, bespoke pieces of equipment. At a push, you might label this jazz, for the simple fact it's so free-form and avant-garde. Realistically, though, it sounds like the noises that might happen if someone attempted to tame a pack of rogue electronic hubbub-chatting things in a vaguely structured way. "Thank fuck for Pierre Bastien", the Quietus once said. We happily concur.
Review: Lil Yachty and James Blake's Bad Cameo showcases their fearless creativity, blending Yachty's dynamic vocals with Blake's signature production. Tracks like 'Missing Man' and 'Transport Me' shine with captivating depth, while 'Red Carpet' offers a soulful, gospel-infused highlight. The album's experimental nature, especially on tracks like 'Save the Savior' and 'Midnight', reflects the duo's bold approach, pushing boundaries with each song. Even in its unexpected turns, Bad Cameo remains an exciting exploration of sound. Available on limited magenta vinyl, this release is a fresh, innovative take from two artists unafraid to try something new.
Review: Den Helder is the northernmost city in Holland, is surrounded by water and borders the North Sea. With a military history dating back to the 16th century, it is also the most bombed city in the Netherlands and was nearly destroyed during World War II. The Third of May was written and recorded in 2020 over six days in an old pumping station located in the dunes of Huisduinen near Den Helder. The story behind the album is set in this historic city, weaving its tumultuous past into a vivid, imagined narrative inspired by the area's rich and tragic history. It's as much of an emotional rollercoaster as you would expect given the concept.
Review: To say Philippe Doray and his Asociaux Associes finished the 1970s with creative fervour would be an understatement. First we had 1976's Ramasse-Miettes Nucleaires, then two years after that there was the equally potent Nouveaux Modes Industriels. Both were heralded as ahead of their time, at the time, bringing together strange, otherworldly pop, spacey prog, prototypes of Krautrock and impassioned poetry. Le Composant Compositeur followed, and in their own words marked the beginning of a new era in the 'Antisocial Associates' project (to use the English translation). It's a marvellous addition to the collection, too, a series of sharp, edgy, mutant pop tracks, weirdo brass experimentation, compressed electro, dubby ideas, and twisted, acid-spiked fairground themes.
The Horse's Pelvis Is A Lyre (feat Jali Bakary) (4:31)
The Horse Is Prepared (5:45)
The Horse Is Quiet (3:23)
The Horse Is Submerged (feat Evan Parker) (6:55)
The Horse Is Put To Work (8:38)
The Rider (Not The Horse) (8:44)
The Truck That Follows The Horses (3:59)
The Horse's Winnings (3:30)
The Horse Has A Voice (feat Theon Cross) (3:13)
The Horse Remembers (3:41)
The Horse Is Close (1:54)
The Horse Is Here (feat Danilo Perez) (3:47)
Review: We all know that Matthew Herbert is a far out sonic experimenter who will look to make music with and from anything. But this project might be his most outlandish and extraordinary to date. It starts with him looking for the largest possible animal skeleton to explore though music. He settled on a full size horse and from that made flutes from its thigh bones and bows from ribs and hair. Gut strings stretched over the pelvis feature in the mid-section and even more bizarre than that is the fact he travelled to ancient cave paintings of horses in Northern Spain to record reverb at their door. Brilliantly bonkers as ever.
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