Illusions Of Shameless Abundance (feat Lydia Lunch) (5:55)
Alucinao (feat Estado Unido & FKA Twigs) (9:09)
Review: Hot on the heels of "2017-2019", his second album of angular, off-kilter electronics and mechanical rhythms work under the Against All Logic alias, Nicolas Jaar offers up a 12" containing two eyebrow-raising collaborative cuts. Legendary alternative artist Lydia Lunch, who also features on the album, pops up on A-side "Illusions of Shameless Abundance", adding a out there spoken word vocal - much of which is presented as a series of overlapping loops - to Jaar's skewed modular electronics and trippy, out-of-this-world sounds. Estado Unido and FKA Twigs lend a hand on flipside "Alucinao", providing gently soulful lyrical flavour to a distorted, thrillingly aggressive South American electro rhythm, sweaty pots-and-pans percussion and metallic melodic elements.
Review: Second time around for Julianna Barwick and Rafael Anton Irisarri's lauded contribution to the THESIS label's series of collaborative 10-inch singles. The 2017 set has been in high demand since it first appeared in stores, and with a limited number available outside the US for the first time we're expecting it to sell out in double-quick time. Musically, it's one of the most picturesque things that Irissari has been involved in. The untitled opener delivers a near perfect fusion of layered improvised vocals and wispy ambient electronics, while the track that follows brilliantly builds to a crescendo of Tangerine Dream style arpeggio melodies, densely layered textures and acid-esque motifs. The flipside opener is a more softly spun, deep ambient soundscape, while the EP's closing cut is sparkling, spacey and hugely alluring.
Review: First released way back in 1982, Blancmange's "Living On The Ceiling" remains one of the most alluring and eccentric of all new wave-era synth-pop cuts, in part because the unusual inclusion of tabla and sitar parts gives it an unusually exotic, mind-altering flavour. This timely reissue includes the original album mix (B1) and '82 12" version (B2), as well as two brand new reworks from the mighty Roman Flugel. The veteran German producer has delivered the goods, first via a deliciously wonky, otherworldly and analogue-rich revision that brilliantly fuses elements of trippy Teutonic techno and raw, turn-of-the-80s New Wave. As you'd expect, his accompanying dub takes the track further in this direction, delivering a deliciously skewed trip into sparse, heavy, early morning territory.
Review: Bochum Welt's 2019 album "Seafire" was arguably one of the strongest full-length sets that Central Processing Unit has released to date, which given the Sheffield-based label's track record is high praise indeed. This EP offers fresh interpretations of some of the album's many highlights. First up is a perfectly pitched radio edit of "More Light" a gorgeous slice of IDM bliss that recalls the halcyon days of Boards of Canada, which is later given a slightly chunkier - but no less beautiful - treatment by EOD and a bustling, club-ready electro re-fix, complete with Yorkshire bleeps, by veteran DJ/producer James Zabeila. Elsewhere, the ambient mix of "G1" is as luscious and blissful as you'd expect, while Teflon Tel Aviv's revision of "Color Me" is opaque, sun-kissed and more than a little spaced-out.
Review: Leeds lad Chekov was one of the first artists Shanti Celeste turned to when she launched Peach Discs with Housework pal Gramrcy back in 2017. Here he returns to action with his first solo EP since and it's a bit of a beauty. He beginnings with the immersive, sunrise-ready ambient swell of "Blanked Out", where layered synthesizer motifs flutter atop the sound of what sounds like a heavily processed recording of a babbling brook, before skipping towards the dancefloor via the beefy broken techno drums, 16-bit melodies and spacey electronic sounds of "Flote". "Swerl" is a near perfect fusion of immersive chords, bittersweet motifs, chiming melodies and crunchy house drums, while "SMP" is a deliciously wonky, low-slunk chunk of lo-fi electronica that defies easy categorization.
Review: It's impossible to deny how tight the production on this experimental but highly workable and coherent double-A side actually is. Both tunes belong on the Everything In Its Right Place shelf, and each of those things seems to have been crafted with meticulous attention to detail. Opening on the original version of 'Kodokushi', there are more than a few clear references to the glory days of progressive breakbeat dance music, with the track a sparse, space-age set opener if ever there was one, gradually unfolding into a subtle and loose rhythm crying out for heavier beats to mix in. The Toulouse Low Trax remix goes someway to answering that call, bringing a gradually growing groove into the equation and heightening the percussive elements, leaving us somewhere between an instrumental of Massive Attack's 'Karma Coma' and Sasha's 'Airdrawndagger' LP.
Instrumensch - "Sebb Didn't Get The Job At Fruit Loops" (3:40)
DJ Rasputin - "Liquid Shrimps" (6:37)
Review: Dusseldorf label camdomble are back with a new release for 2020, and it's a various artists split 10" no less. DJ Ungel sounds urgent on lead track "Xenon", ripping through uptempo electro acid with a distinctly dark tint. Instrumensch rolls at the other end of the tempo divide with the slow-creeping, slightly dreamy "Sebb Didn't Get The Job At Fruit Loops". Sealing the deal on this varied three-tracker, DJ Rasputin offers up some transcendental techno with a Goa undercurrent on the flip that will have you reaching for your finest tie-dyed garms.
Blood Moon (Dawl & Sween Tone DropOut remix) (7:17)
Blood Moon (Violet remix) (5:56)
Review: Kim Ann Foxman takes a break from her own Self:Timer label to pop up on [Emotional] Especial. Her track "Blood Moon" hinges around rolling breaks and a globular monosynth bassline, but it's Foxman's vocals that give the track an electric, mystical energy that will cast a spell over the dance. Roza Terenzi takes the original and jacks it up, sharpening the focus of the rhythm section without losing the crunchy breaks. Dawl and Sween channel some bleeps n' breaks vibes of their own with a version that keeps things darkside and wiggy for the old-skool crew. Rounding things off, Violet's remix emphasises the acid as it plunges into the depths of the dungeon in a hooky, hard-edged style.
Review: There's a sense of dark mystery throughout this latest from Onont Kombar, which some will recall from his contributions to the 2016 mini-album, 'Split', featuring celebrated tracks such as 'The Doors'. Not quite a case of more of the same here - all three pieces feel very original - but nevertheless that steely and unnerving cold wave vibe is very much present and correct. This outing veers from suggestion to full intoxication. 'The Last Days Last Forever' sounds like a recording of a track from distance; you struggle to make out the details but together they create a powerful overall mood. Meanwhile, 'Epitaph of Ego' brings acid warbles and snares to the fore, resulting in a tune that owes much to the more Romantic side of electro and electro pop, with 'Moondust In My Eye' employing a chugging groove to give its whirring, industrial details a dash of obscure funk.
Review: Los Angeles has firmly established itself as one of America's electronic music capitals over the last ten years, with the city particularly fertile in more experimental ends, where rave, urban and downtempo collide in a haze of found sounds, samples and original loops. Kutmah pretty much encapsulates this point. Melding elements of hip hop, post-punk and industrial, 'New Appliance' is basically the producer's new calling card - a mini masterpiece that's so tight and well-executed it leaves no questions as to the creator's ability. 'Ramallah''s intoxicating Arabic references, crackling recordings of bells, haunting chants and exotic flutes. 'Stoned In Brixton' cries out for a sunset to soundtrack, nodding to the productions of DJ Krush or Bibio, with the latter similarly invoked on 'Tres Flores'. Smoked-out innovations by the kilo.
Review: Malin Genie welcomes an extensive EP treat from Lava Lap, an emergent producer with an affinity for the kind of braindance that will have fans of Jodey Kendrick beating their drum machines with approval. The acid is slippery, the structures ever-shifting and a wealth of expression spills out of every bar. There are faster drum & bass paced bits, melancholy detuned electro and much more besides. Far from just being clever music though, it's also amazingly emotional and so impeccably produced. Any electronica head should be all over this.
Review: Talk about the power of pure rhythms. 'Yek 166-3', to reference just one of four iterations here, is as propellant as anything you're likely to hear in a club, but if heard mid-party would be one of the most challenging curveballs you could ask for. Comprised entirely of tribal-like top end percussive structures set at breakneck pace, it's a great place to start with this release overall - a package that's as much about artistically accomplished complete tracks as it is providing workable elements for use in something larger. A DJ's delight, this isn't to say all four arrangements don't deserve to be heard individually. '134-17' growls and shimmers in a way that's subtly complex, ideal for headphone or big rig play. '128-10' is more about poised dark tech atmosphere, while '127-17' exists within looser frameworks, leading to more serene and relaxed results.