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Contour the hell outta your face. Bodies should be buried vertically, not horizontally, to avoid the appearance of a grave. Make friends with a pig farmer. A full grown nursing sow can eat an entire human body, bones and all, in about 6 hours. I love all the advice. Except the icicle. Use a disposable knife instead and break the handle. Yes, that may mean you dig a 12 foot deep grave. Guess what? Murder is work. The albums shifting, mperfect patterns and muted colours are visually mirrored in the beautifully realised sleeve by the Print Project.
Planet Mu are very excited to announce Jlin's long awaited second album Black Origami'. A percussion-led tour de force, it's a creation that seals her reputation as a unique producer with an exceptional ability to make riveting rhythmic music. Black Origami' is driven by a deep creative thirst which she describes as this driving feeling that I wanted to do something different, something that challenged me to my core.
Black Origami for me, comes from letting go creatively, creating with no boundaries. The simple definition of origami is the art of folding and constructing paper into a beautiful, yet complex design. Composing music for me is like origami, only I'm replacing paper with sound. I chose to title the album "Black Origami" because like "Dark Energy" I still create from the beauty of darkness and blackness.
The willingness to go into the hardest places within myself to create for me means that I can touch the Infinity. Avril, who collaborates with me by means of dance, feels the exact same way. Movement played a great role in Black Origami. The track "Carbon 7" is very inspired by the way Avril moves and dances.
Our rhythms are so in sync at times it kind of scares us. When there is something I can't quite figure out when it comes to my production, it's like she senses it. Her response to me is always "You'll figure it out". Once I figure it out it's like time and space no longer exist. Jlin will be touring extensively this year and is currently lining up appearances including Sonar festival. Later this year she will be collaborating in London with acclaimed UK choreographer Wayne McGregor who played her music recently on Radio 4's Desert Island Discs and described her music as quite rare and so exciting".
Few artists have the ability to totally seduce over a few spins like Italy's Herva. What may seem messy at first listen starts to fall into sharper definition and 'Hyper Flux' makes a very strong case for being his most seductive and mature record yet. The album has dismantled the broken beats of his early records and drifts, dives and shivers, its beats blended into the haze, everything approached from unusual angles with none of the music sounding entirely digital as it smudges between manipulated live instrumentation and field recordings coupled with synthesis and space - there's a warm heart at the centre of this music.
Of making the album he says I challenged myself to play real instruments. I have a lot of guitars and weird acoustic instruments at my home and also my Dad's. He's primarily a guitarist and an inventor of instruments, so I have lots of those. Anyway I'm not a pro but I'm able to play drums quite well and I'm not that bad on guitars and bass too, but the weirdo instruments are the best, you are even more free to reinvent how to play them since no one else knows how to.
The centrepiece of the album is the space cruise of 'Lly Spirals' which sounds like early 80s boogie blasted into the stratosphere. Things start to get weird with 'Solar Xub's drifting jazz, punctuated with scratchy beats and noise. Hyper Flux finishes the way it started, with the distorted chords of 'Zykmed', echoing dust and hiss played out over a gentle nostalgic melody.
Jlin returns with the first fruits of her new work since last years 'Free Fall' EP. A-side 'The Return of the Blvck Rxbbit ft. Avril Stormy Unger ' is the more traditional of the two tracks, starting off proceedings with a constantly switching rhythmic structure and a stop-start sweeping hoover stab panning between the speakers, descending bleeps and Avril's vocals cut into shapes and pushed through effects. B-side 'Nyakinyua Rise' races headlong into uncharted territory, with a fierce barrage of djembe drums over pounding bass, punchy war cries and jubilant uluations that paint a tension between hot aggression and weightless ecstasy.
Vercetti, Lovedr0id and Chemist, who met while studying music technology and composition and discovered they had similar tastes and ideals. The project was formed after they began experimenting with combining the academic study of sound design with their personal musical interests. The original aim of the project was to combine their shared interests in grime, drill and club music with film and game soundtrack composition.
It opens with the scene setting 'Citadel VI' dropping into the atmospheric glide of 'Shaded' with its camera sounds and energetic bass, kicks and claps. The mood darkens with the punchy 'Defect' as the track uncurls through a vortex of gated chords. It's been five years since his acclaimed debut 'Severant' and time has proved it prescient, its futuristic trap influence is now ubiquitous.
Between albums Kuedo has been working as a sound designer and composer for hire and the application of intent and widescreen rigour that commercial work requires has definitely found its way into the new album. But, as with 'Severant', the title suggests relationship unease, with the slow knife being a metaphor for the building resentment in any close relationship. Both halves of the album are also in thrall to Mica Levi's inspiring 'Under The Skin' soundtrack, especially in the turbulence of the mid-section.
The songs of the albums first half are synthetic and seductive, a gelatinous veil with shades of the pseudo-sophisticated trance of Enigma, of all things, underpinned with dusky unsettling shadows and atmosphere. The second half of the album enters wilderness territory with 'Approaching's slow descending notes, before 'Broken Fox - Black Hole' throws the record into the cathartic darkness, as undulating chords play hide and seek with riotous reeds and scratchy strings grown from challenging collaborations with cello player Koenraad Ecker from Lumisokea. A collaboration between Aphex Twin Richard D.
This new reissued version has been carefully cleaned up, re-edited and remastered from the original DAT tapes, put into a more fitting order and, more excitingly, seven new bonus tracks and alternative versions have also been added. The album was recorded over a few days during the World Cup, back when Richard lived in a big shared flat in Stoke Newington. Richard had tried to collaborate with a few other likeminded artists but something clicked when Mike and Rich worked together and the sessions have a unique feel, playful and at times actually drunk. These are fun experiments in the spirit of lighthearted moog pop and ripe 70s British TV themes, standing out from the po-faced electronica of the time with a garish glee.
The record was made on what is now seen as pretty primitive gear - an Atari, Roland MKS, Memorymoog, Roland R8 and a handful of samples on a Casio FZM - but it's to their credit that it resonates well with the hardware workouts coming out today. There's a broadminded but sloppy funk to the record, even whistling, singing and harpsichord in 'Reg' and wonky beat pile-ons in 'Jelly Fish'. There's latin piano and wheezy drunken techno in 'Vodka', or the sleepy spaced out ambience of 'Bu Bu Bu Ba' with its barely contained laughter which seems to reflect the absurdity.
A generous and welcome return to the racks. It's not about the place, actually we like the nature here, it's about the people who rule these countries and their laws. Struggle with real life in almost totalitarian countries affects us, so I think thats why most of our tracks sounds disturbing and depressive'.
The three of them met on the Russian social networking site VK where Lit Internet and Lit Eyne formed a music blog, prior to their making music together. Pre-WWWINGS Lit Eyne taught and collaborated with Lit Internet, creating a soundcloud page and posting a track per month, gathering interest and forming many international friendships with like-minded artists, some of whom ended up collaborating on this album. This culture clash is hammered into something impulsive, dystopian and dripping in cold, alien slime. Asher Levitas is perhaps best known as part of Old Apparatus, the acclaimed and enigmatic London experimental outfit.
The record follows personal themes in a time of extreme emotion: Asher also wanted to describe the experience of the sleep paralysis, which he has had most of his life, into a musical sound world. That's not to say the album is totally dark, but there's intensity and transcendence here as well as an otherworldly beauty. The music on 'Lit Harness' plays out in a shadowy hallucinogenic dream-like state where it's not clear what's meant to reflect reality or pure fantasy.
Part of this process was the way the audio and visuals developed in tandem with each other, Michael passing Asher images and video, which Asher used to inject drama into the tracks and finish them. These early recordings have picked up interest from curious seekers of new music, with excitement from Fact magazine and a mention in Vogue's best music of He's now dropped the punning female first name and been picked up by Planet Mu for his first proper full-length, 'Virtuous.
The music on this album feels very modern, but doesn't feel genre specific or even created by a human at times. It has an obvious dark cartoonish cinematic feel to it that hints at computer game music and anime soundtracks, but it's as if the tracks are semi-autonomous beings evolving as part of a larger eco-system: Perhaps in this context It makes sense that Tristan is a microbiologist too - but also that the theme he was inspired by when creating the album was centred around the development of an AI. A little later in the process it started to crystalize into the idea of whether or not an AI can have a set of ethics, and if not, how close can it get to being like human intelligence It comes through in the music as the album becomes more melodic, almost sentimental at the end.
Like all the best electronic music which isn't entirely melodic, the listener is able to put their imagination right at the centre of the work and can rest assured that the album will reward their attention. Leave your preconceptions behind because Ital Tek's brilliant new album 'Hollowed' is his best and most rewarding yet. The record is dark and maximalist but at the same time the huge sounds are minutely detailed and elegantly rendered. Cutting himself off in a new studio at the start of , Alan experimented and worked out the core sounds of the album by going back to the techniques he started with: With this record I bought the guitar I wanted back then and hit record, creating hours of drones, loops and textures.
I wanted to make the album that was in my head when I was 14 but I had no idea how to". With 'Hollowed' Ital Tek gone far beyond his earlier more dance-genre based work, leaving just the footprint and especially the sonic weight and space of dubstep. But the sound here is designed from the ground up and carved into something much more abstract, impressionistic and elegant. As Alan puts it "I'm moving away from dance music and letting sound inhabit a space without shoving everything at the listener in the first few bars".
One of the biggest musical experiences that left an impression on him while recording this album was hearing "Henryk Gorecki's Symphony No 3' being played live, starting very small and soaring, then returning to stillness Limited to copies for distribution Sami Baha is a young producer from Istanbul, with his roots in the Turkish Hiphop scene, who has been stealthily pricking up ears with guest spots on Rinse FM and NTS since he moved to London last year.
He started this EP 'Mavericks' while he was in Istanbul, saying "the music I produced became more chaotic as Istanbul became a harsher place both politically and economically. I didn't really design it that way, but I feel like the sound got more aggressive over the years". He describes his music as 'instrumental trap', but instead of trap vocals there are complex arrangements, although he has started to work with vocalists while he's been in the UK.
He says of his sound; "I grew up when the Arabic style of Turkish music known as Arabesk was at the centre stage of Turkish culture, so I was listening to popular Turkish performers Ibrahim Tatlises and Muslum Gurses alongside trap originators DJ Screw and the Atlanta scene. I know people don't hear the orient instruments and rhythms in my music, but I like to think of my music as arabesk-trap, as I feel like the Arabesk and trap crossover is where they come from and in their feel.
The steel pan melody and spiralling snares of 'Dough', manage to remind of vintage Black Dog, rolling out emotively over bass and drums. The EP finishes with 'Chunk', its glassy plodding melody rattling out over a desolate atmosphere and slowed down fight-game phrases. An astonishing debut from a name you'll hear much more of this year.
Croydon's Yearning Kru uses digital technology and specifically sampling to make a unique lo-fi psychedelic environment. There is a large visual element with all his artwork self-made and live performances accompanied by his own distinctive visual montages. His work is inspired by the world-building aspect of various literary fantasy environments, especially Gormenghast and Dune, and the music is a psychedelic representation of landscapes rather than narratives of characters as more song-based music might represent.
The tracks function as viewpoints into a world for a brief period of time, and the world represented is one of small workshops toiling and churning in the shadow of great hives of technology. The title "Copper Vale" is meant to hint at something both pastoral and bucolic, a valley or secluded glade, but also recognising the industry and electricity that drives our world, something that is often set at odds against nature; also the genres of fantasy and sci-fi, that show ideas of past and future through these archetypal cultural ideas.
He lives in relative seclusion from the dance music world in the Italian countryside around Florence and is one of the most intriguing producers to work in house and techno for a while. His early musical life as a drummer, plus his extra-musical interests in engineering and electronics has informed a unique, freeform, and very tactile approach to dance music. It's house and techno that doesn't adhere to the usual influences of Detroit, Chicago or Berlin. The album he's made called 'Kila' the Swahili word for 'everything' was put together using software and hardware that he often modifies, with a mixture of beats and samples punched in like old-school hip hop and synths and effects that give his tracks the feeling of dance music that's been teased apart, smudged and smeared.
The music is relaxed and warm but simultaneously abstract and punctuated with ragged detail and gritty disruption. The album moves across tempos, from the floaty upbeat disco of 'All Good On Your Side' to the full throttle electro of 'Seat Behind Mirrors' which gently gives away to a looping Burundi vocal. Then down to the old-school hip hop and wonky ooze of 'Mistakes Dealer'. The track 'Fading Above Smoke', is held in place by a repeating drum pattern while synths and samples scrape and wrap themselves around the rhythm.
The album finishes on the overloaded climax of 'Fog', which runs awkwardly edited samples over a loose drum tattoo, with enough restraint to keep the track flowing. Venetian Snares' classic orchestral album reissued on black vinyl in full-sleeve artwork for the first time.
What if, for just a day, we could both be pigeons Sometimes one moment in time can take on such an important significance that it becomes an endless world unto itself and everything outside of that moment, past and future spots in time, become the folklore of that world. But even in the world of the infinite moment, we cannot choose the feather of our bird and the pigeon may long to be the goose, the donkey the pigeon and so on. Furthermore as our world blossoms out of this single tick in time, it is for one pigeon a swirling romantic flood of euphoric possibility and fascination, for the other an inferior life of shitting on everyone from the sky, awkward and ashamed, resigning themselves to be the wretched nuisance they are painted as by those they shit on.
Ultimately, as quickly as our world blooms, our world is discordant, and our pigeons are wounded, and as our world dies, we die, and we are extinct. If only we could kill ourselves over and over until we get it right. So just as an entire genre of music can be born out of one sped up ten second breakbeat, a full symphony orchestra can come together in harmonic unison to create that perfect moment in time, thus every moment can give birth to an entirely new world, and every world can house the perfect moment, and just as that breakbeat may be broken beyond any recognition, that orchestra may combine to bring forth a dissonant barrage of colossal sorrow, and so the moment disintegrates it's world and that world suffocates the moment under it's collapse.
Footwork'—the very word indicates a movement of the feet that is work' as in an effort to achieve. Its joyous social party nature sits within a lineage of African American history that includes the infamous Soul Train dance tunnel and Hip Hop dance circles. However, as Footwork continues to become more popular, we should not forget that at its essence it is a highly evolved battle form.
RP Boo is to Footwork what Juan Atkins is to Techno - a source point for a busting out of innovative ideas and new directions. When asked about his role as progenitor of the genre he humbly notes, It has taken me a while to adjust to. I actually had to think about how it could have come to be by listening to other producers and DJs that were around as it was forming. All of them said, at different times, hey RP you know you created a mean following of people that are inspired by the way you make tracks and get the dancers into a whole new battle stage with energy.
It helps me see that I represent a breathing source of sounds. If you've been lucky enough to catch one of his DJ sets, such as his groundbreaking European debut at Unsound Festival in Krakow, you'll have seen him come out from behind the decks and start dancing in and with the crowd, spreading Footwork both sonically and as an evolving set of movements.
He says, I know how to speak battle from being in the circles. Footworkers need fuel and they often say, only you can get us to battle like that. Once outside the turntables, I use the same energy to speak with people. It's a job and I am strong on giving encouragement to others, I want to uplift people. I have to try and walk that life for as long as I am alive. His sound remains unique. Highlights include Banging On King Dr. Whilst the murky four-track cassette sound and dirty analogue textures are still very much in place, keen ears might spot a subtle change in emphasis.
There are less of the radiophonic sci-fi sounds, ancient drum machines and none of the post-punk bass or guitar. Instead, Nick Edwards mainly focuses on invoking a blurry, saturated false-memory of the leftfield electronica that was the soundtrack to his life in the early to mids. As the album title suggests, "Reflekzionz" is a record that unapologetically dwells on past experiences, like flicking through an old album of bleached-out photos from days gone by, and on tracks like "Downtone", with its extended, unchanging groove and wash of muted, untethered synth melody, the aim is to invite the listener to join in a state of reverie.
Opening track "A Caustic Romance" could almost be a lost AFX beat but adds a touch of hand-played naive melody that brings to mind mid-seventies Cluster, blending different eras in a lo-fi melting pot. Elsewhere there are other influences on display. But as with practically all Ekoplekz records, the unifying factor is the primitive dubwise production, heavy on the filtering, echo and equalisation, never more apparent than on "Dubnium " where heavy layers of drone and melody crash and burn along an unstable rhythmic path.
The album closes with the gentle, woozy atmosphere of "Day In May", where fragile, muted melodies drift in and out of sync on a bed of corroded drum machine, fading into the distance like a half-remembered dream - the perfect finish to an hour spent in the company of Nick Edwards at his most 'reflective'.
Drew Lustman leaves his 'Falty DL' persona at the door and dons his Cowboy hat for a new alter ego - 'The Crystal Cowboy' - his cleanest, most concise record to date. The eleven tracks here are a body of work that Drew put together quickly, free of the connotations and associations of his Falty DL moniker.
Creating music in the small hours of the morning rejuvenated his sense of experimentation and freedom. Under this new name Drew found himself making the kind of music he would DJ with or play to friends without the pressure of the conceptual weighing him down. Like all great projects between Planet Mu and Mr.
Lustman, these songs found themselves in Mike Paradinas' inbox with little fanfare, letting the music speak for itself. Placed at the albums midpoint, 'Hyena' takes a broken diva vocal and repeats it into an intense howl, leading into the title track whose carefully poised rhodes jazz chords and vocals are balanced against rough hardcore breaks and dense distorting bass which makes you feel like your bouncing on water. Drew takes things slower with 'Onyx' which featuring the rapper Le1f's first ever sung vocals, over xylophone and light raindrop rhythms. The album finishes on the pumping electro of 'Sykle' whose itchy overexcited rhythms rub up against plaintive childlike piano and shimmering synths making it one of the album's most memorable highlights.
Good night and good luck. Featuring just two tracks, The Entropik EP sees Ekoplekz stretching his sound towards breaking point, each track extending well past the ten minute mark, slowly evolving yet with a sustained intensity, strength of purpose and emotional impact that ensures that neither outstays their welcome.
It's title might make reference to a classic techno track by Beltram, but there the similarity ends. This is no homage, the sound is pure Ekoplekz, and the onus is on the listener to gauge what statement, if any, is being made here. Fans of a certain late-eighties psychedelic drone-rock group might spot another reference in the title of the flipside, "Entropy Symphony", though as with the A-side, all sense of 'Ecstasy' has long since evaporated. Beginning with a volley of pensive, densely entwined melodic loops, the track is gradually submerged in layers of searing drone-noise.
Though further propelled by the introduction of a one-note bass hit, ultimately the 'symphony' disintegrates into a grey void of instability. Whether or not the listener chooses to interpret this EP in a conceptual sense, there is no doubt that this is some of the most powerful, life-affirming music to emanate from Ekoplekz' lo-fi studio hideaway to date. Entropy Flash B: Entropy Symphony. The majority recorded early in SW England.
A particularly fierce winter. Woman reasserting power. Man fighting in the dark. The Cold War continues. After a significant time travelling abroad he relocated to Berlin and released his debut album for LuckyMe, entitled 'My Skeleton'. Now he is releasing his follow-up EP 'Sun Czar Temple' on Planet Mu - an epic set of songs that distort emotional songwriting with textured synthetic ambience and computer noise.
Dreams on hard disk. The EP opens with the epic 'Traumzeuge', a piece for digitally obliterated piano and plugins taking its inspiration from territories of culture shock and insomnia. Liz Wilson' begins with twinkling, bleeping arrays of electronics: Hidden drums, ghost choirs, and geometric cryptophasia arpeggios disappear into chaos. Initially composed entirely visually in Logic, sound muted, without any timing grid.
Dense pitch shifted chords and multiple random effects building into strangely unearthly pop with Ryuichi Sakamoto 80s drums and obscured vocalvocalvocal loops. Distortion appears gently until a smashed out post rock crescendo bursts through.
Black Calkz B5: Add to Favorites Athletes for Justice. Add to Favorites Absurdity Sells: On 'Dream On' Ital takes his experimentation with house and techno forms even further, creating impressionistic deconstructions from the tropes of early house and techno. Sounds from Norway. They met in Europe but when Joanne played Aaron her music and visited him at his studio, collaboration started to happen soon after. Footworkers need fuel and they often say, only you can get us to battle like that.
December Collective Title Mr. Mitch is one of a small group of producers who in the last few years have been re-imagining the decade-old genre of Grime. Miles Mitchell, a 26 year-old South East Londoner, started his own Gobstopper label back in after having his debut release on Butterz. For Mr. Mitch, Grime has " His debut album is called 'Parallel Memories' and Miles has an intriguing story that explains that title.
When listening to his tracks, he sees the same vivid scenes in his head each time he replays the music, often repeated snapshots of his life in various impossible scenarios or distorted situations. This made him think "What if the images I'm seeing are memories from an alternative version of me in a parallel dimension" A question which reflects his vision of Grime too, as his instrumentals are informed by a quite personal and emotive alter-life, where Grime's famous minimalism gives way to a gentle subtlety and is imbued with a very different feeling to the brash aggression associated with the genre.
The album intro 'Afternoon After' is the bleary-eyed sound of the club the night before, broken down into swirling child-like synth melodies, coiling over flattened, but airy kick drums. London, its gorgeous flute melodies opening up gracefully over minimal rhythms and shifting static tones. Elsewhere 'Sweet Boy Code', a collaboration with fellow Gobstopper artist Dark0, lets spacey kicks propel its gentle relaxed melodies over airy sampled vocals.
The midpoint track 'Wandering Glaciers' twists Grime into what sounds like a tense piece of early electronica. Meanwhile 'Bullion' chops up a lumbering sample that sound like a marauding giant. The album finishes on 'Hot Air', with its drum pattern sounding like a slow heart beat and strange, backwards synths, it feels like a voyage around a body. This is an album that deserves to find an audience who are willing to go on a journey into new areas with Grime. Mitch is one of a group of producers who have re-envisioned Grime in the last few years, infecting the scene with a progressive and often surprising energy.
He's 26 years old and started his own Gobstopper label back in after having his debut release on Butterz. Mitch, Grime " And so this four tracker, which drops before his debut album 'Parallel Memories', is a short but brilliant showcase of his delicate use of Grime's speed and sound and his ability to take it somewhere else. The record starts with Boxed anthem 'Don't Leave' which chops and screws a repeated acapella, with spaced drum hits and light drizzly chords.
It sounds extra sad and emotionally desolate, but within the Grime grid, it still feels tough. The melody builds very gently and the track peaks midway with a contrasting noise that seems to shatter the track apart. This is music that deserves to find a likeminded audience, progressive and not afraid of emotional depth. The record immediately struck a chord with both critics and fans for its fascinating use of house rhythms to bolster fractured, alien landscapes with a surprisingly tender emotional power.
Seemingly unconcerned with dance music orthodoxy and informed by years in the noise-punk underground, his compositions came out of left field, constructed on primitive software with bizarre, culture jamming samples. Dance music in New York was re-emerging after a period of stagnation, and Ital was among the first of a younger wave of producers to invigorate it with a dose of visceral vitality.
Since then, he's remained at the forefront with a remarkable EP for esteemed label Workshop, a collaboration with Hieroglyphic Being and a pair of excellent EPs on his own Lovers Rock imprint. Now Ital has returned to Planet Mu for 'Endgame', his most singular and hypnotic work to date. Vertigo-inducing, nuanced and highly evocative, 'Endgame' is a delirious pleasure to dive into. The album's textures often explore inviting spaces, only to bring the listener 'somewhere uncomfortable, perceiving constant chaos and collapse in the periphery of your vision,' as Daniel describes. This is especially evident on the haunting title track, its dizzying reverb lingering while the bottom drops out, leaving the listener suddenly on the edge of a cliff they weren't even aware of, and the glacial shift in 'Beacon' from warm, bubbling chords to disconcerting stillness.
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One of his goals from the start was 'to keep things liquid. The music had to come from that natural, unforced space. Recorded with a select arsenal of hardware, mixed with M Geddes Gengras at his LA studio and mastered by acclaimed engineer Rashad Becker, the final result is a shimmering blend of his swirling, effects-laden live sets with a deeper, more penetrating emotional and melodic clarity. The album seems to have a flowing sense of narrative, something akin to an opera, and unusually Aaron sings songs on it, which reinforces the sense of an emotional journey.
Sonically he meshes together sometimes thunderous yet complex drum programming with delicate musical structures, creating, in places, a sense of haunted, atmospheric Jazziness, as well as spiky autumnal strings recalling the gothic orchestral beauty of his previous work. The last few years have seen Chicago Footwork rise to international success, and Traxman's debut album - 'The Mind of Traxman' on Planet Mu - played no small part in that. It showcased Cornelius Ferguson's brilliant ability to synthesise the beat digging of classic hip hop with the high-speed abstraction of Footwork's house-derived beat science.
Instead of bringing in concepts from other genres, he simply creates a wider variety of Footwork, made with a minimal, reduced palette. Often just one or two samples are selected and diced into brain-blurring cubist puzzles that bear little relation to their original sources, or anything else for that matter. The mind of Traxman dazzles again. Traxman, a. Corky Strong, real name Cornelius Ferguson, is a Chicago Footwork veteran whose discography also includes many classic Ghetto House and Juke releases going as far back as the mid '90s with music on labels like the legendary Dance Mania.
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He describes his style as "funky, soulful and a bit eccentric. The album shows just how much their ability to write confident and thoughtful pop songs has developed, while still being able to retain the sleepy cushion of steamy synth pop that made the first record so rewarding to listen to.
This time album features the vocals of a Vezelay, a. French singer and producer Matthieu Le Berre, who brings a gentle poised falsetto to the duo's productions along with a delicate but hopeful angst. This can be heard in the breathy vocal harmonies of ballad 'Rain', in the building arpeggios, open guitar chords and skittering, trappish hi-hats of 'Boxes' or 'Lumber's industrial drum tattoo, it's sad chords set against Matthieu's anxious, delay-smothered vocals. The album switches mood with the nostalgic, dewy Rhodes and recorder of 'Liverpool', acting as a brief impressionistic pallet cleanser before the grinning bounce of 'Sultana', which has the kind of melody and keyboard solo!
Triumph' burns slowly over shimmering arpeggios and sustained bass notes, Vezelay's words softly spelling out scenarios in delicate harmonies. Shoe Soul' wraps old school Detroit techno chords and a wonky fretless bassline around Vezelay's swooning voice to woozy, almost sea-sick effect, and the joyful, frayed sleaze of 'Foghorn' could be taken from an episode of The Sweeney, while 'Amniotic' sounds like galloping trap, treated to a relaxing spa.
The album ends of the rather epic note of 'Empires', a quietly confident pop song that builds up slowly over a deep piano bassline and pulsing kicks, filling the space between them with feather-light rolling notes slowly building to an epic crescendo of drums, vocals and strings. Drift deeply and enjoy. DJ Clent - the low end legend - has been known for his music since the days of Dance Mania, releasing tracks such as 'Bounce' and 'Back Up Off Me' which are juke classics.
Next up, 'Baby Yeah' works a vocal and sax sample into shimmering cut-ups and high-speed rhythmic shapes. On side B 'Clent's Dog Catcher' is a half-speed chop up of the intro to George Clinton's famous 'Atomic Dog', sliced and diced into itchy, slippery shapes. On this, his debut album for Planet Mu - with Mike Paradinas working alongside Nick to pick the fruits of his labour - Nick Edwards' Ekoplekz project creates an album that feels just right for Mu.
Ekoplekz has previously released on a number of labels, but with Unfidelity the music aligns itself with Mu's melodic sensibilities and lets the early 90's electronica influences bleed in, although the album still has the intensely transporting feel that all his work possesses. The title track is the big giveaway to Nick's music if you've not heard it before.
A hands on approach to music making, 4-track recordings, un-sequenced and murky with a molasses-thick harmonic drone that needs to come with a 'do not listen to whilst driving heavy machinery' warning, leaving you with a mood flashback to the fuggy feeling of a teenage bong intake. The music on Unfidelity has a dreamy, nocturnal feel. It's perpetually damp, with muffled drums, cloudy dissonance and dubbed-out metallic squalls, it owes as much to King Tubby as LFO, or to the Radiophonic Workshop as Harmonia. Take Severn Beach's slowly building melodies over a bed of broken drum-machine rhythm.
It sounds like a twisted memory of seventies TV holding music, or Sea 90's squealing metallic dub. Nerva Beacon is dreamlike: Coalpit Heath is a skewed take on Jazz, with a delicate melody finding itself enveloped by rain, dubbed-out shivering fx and bubbling drums. Meanwhile Pressure Level is almost dub techno, mercilessly delayed melodies and noisy squall over a low dub bassline and a barely there drum kick and Tuning Out runs with Kosmische melodies and blended noise. The album finishes with Sleng Zen's rich orchestral chords, pattering drums and dubbed bleeps.
We think this is Ekoplekz's most satisfying album to date and we hope you do too. They met in Europe but when Joanne played Aaron her music and visited him at his studio, collaboration started to happen soon after. Poemss will surprise anyone who equates Aaron's music solely with his hard-edged, drum-driven output.
The record is the result of a true partnership, with both artists contributing to the writing and performance of the music, the technical aspects of production and to the performance and treatment of the vocals. The result is a collection of soft and dreamlike ballads; Aaron and Joanne's singing adding both texture and poetry to the album.
They explain how the record came about: To us, this album is an album of beginnings. It's the beginning of knowing someone, the beginning of a new creative endeavour, and fresh possibilities. The very first song that we wrote together is included in these tracks, and was to us just an experiment. As musicians, it seemed natural to see what we would make.
We can hear ourselves becoming more comfortable with each other as it progresses; an evolution recorded in an album. This record comes from a very intimate place for both of us, largely because it was recorded in Aaron's house, where Joanne was visiting at the time. However, although it was recorded in Winnipeg, to us this record seems less rooted in a particular place or time, and seems more to be born out of our thoughts, dreams, and reflections.
Listening back to every track, it is difficult for us to isolate which parts either of us brought individually to each song. We launch each other creatively, melodically. One of us will usually be inspired again to add to what the other is laying down and it works in a kind of cycle like this.
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It's a nice way to flow and pleasantly surprising to see what the other person brings to it. Much of the time, it really sounds like the two of us together rather than a combination of what we do individually. Taken from their critically acclaimed and eponymous debut, the track exhudes southern hemisphere sunshine with a warm guitar figure sending a gentle bounce through the track. Lead singer John delivers a gentle falsetto before the track drops into a scuffy bass coda. Beatmaker extraodinaire Seiji turns a gentle piano line that you barely notice in the original into the centrepiece of his mix, running rhythmic, crunchy kicks and snares alongside bubbling filtered effects.
On the flip The 2 Bears create a thing of beauty. A slow, rippling mix that's absorbed all the sunshine of the original, turning it inside-out and building the track up gently over a slow house beat, before dropping in gentle repeated vocals over the epic nine minute timespan. Following on from last year's 'Nebula Dance' album, Ital Tek comes with a 25 minute EP that frees itself from easy catagorisation. The title track, 'Control' with its punchy squashed kicks and rolling claps, swaps between Detroit chords and tough drum workouts.
Next up, 'Zero' is a rich and cinematic ambient interlude whilst the final track on side A, 'Violet' is reminscent of Art of Noise's 'Moments in Love', but given a hi-gloss rerub, before the shortened notes of the melody break into strange glottal shapes, with drums striking strange patterns around them. Mercury is the barometer. Songs of innocence and experience, death and rebirth. The grey matter in between duality and the duality of grey matter. Christmas, changeling, nostalgia, time machines, stigmata'.
Daniel O'Sullivan has played and sung in bands such as Ulver, Mothlite, Grumbling Fur and Guapo, while Steve Moore has recorded as half of the Italian soundtrack inspired synth band Zombi, and on dance labels such as Kompakt and more recently L. Initially the music was intended as an instrumental dance project, however the project started to take on a life of its own when Daniel started to add vocals and lyrics.
The music on Mercury is definitely cosmic, but not oversimplified or facile, oddly both men say that an almost subliminal influence was the Joel Schumacher film 'The Lost Boys'. There are anthemic power ballads on there but it also has an unstable tension and is rich in atmosphere, with songs at times pulling on Steve Moore's love for the grainy fog of Italian horror soundtracks, plus the lyrics have an almost occult introspection, troubled, elliptical sentiments animated by choral rounds and harmonies.
Maybe it was the length of time it took to make, but each song sounds like a chapter, with a unique mood. The collage begins with the tender and devotional 'Good Love', a canticle through the looking glass. The final drift is towards a warm resolution and spiritual uplift, with 'Organon' a blissful drone over elegant beats, moog, bells and chanting, where all the tension dissolves into deep satisfaction.
Affiance - Blackout - LP
Repress on 3LP in stickered black disco sleeve. Until now, bar a few low key vinyl 12's and local mix cds plus tracks posted on sites like youtube and imeem, 'footwork' has remained very local to Chicago. Although it's an evolution from the dominant form of house music in Chicago since the mid 90's - 'Juke' or 'Ghetto house', it's a splinter scene you won't hear on local radio. Instead, the scene is based around competitive dances in vacant warehouses, karate gyms and youtube where you will find DJs providing the soundtrack for a circle of spectators surrounding combatants or 'footworkers' battling each other with their legs, using the particular style of high-speed, combat-dancing that Chicago has created in isolation.
To contrast, as well as the established DJs, Planet Mu have picked a number of young producers whose music is less known, and whose exposure has come more through using social networking sites and youtube than through the established networks of the local footworking scene. Footwork is a utilitarian music, and although the tracks here have around the same tempo, different producers have singular styles. In reflection to the dancing it inspires, the rough, aggressive exterior of the music, with its dark themes and terms of combat, gives way to an incredible gracefulness at times, often combining intricate double-time abstracted drums with lush textures and choppy abstract sounds and a distinct way of salvaging popular music past and present and putting it to good use by cutting it up into futuristic, angular shapes.
First time listeners may find the music bewildering, but the way the music utilizes recognizable features in unrecognizable ways is extraordinary: They've written one of the most singular and intriguing records of the year, and one of the loveliest to boot. Maputo, Cape Town and Dar es Salaam; these are the three places that band leader and producer John Withers has either travelled through or lived in, and he feels have had a marked influence on his music. They also happen to be the cities in which Emmanuel Nzaramba, John Wizards Rwandan singer has lived too.
John and Emmanuel met a few years ago, while Emmanuel was working as a car guard outside a coffee shop. He noticed John had a guitar strapped to his back, and they began to talk about music. John says "He told me that he had moved from Rwanda to Cape Town to become a musician, and I told him that I had been writing music that required vocals. We didn't get around to recording. Emmanuel quit his job, lost his cellphone, and moved to a new place before I had the chance to find out. Emmanuel liked the new songs he had written and John would invite him over to sing on them after work.
The outcome of these evenings can be heard on the album. Since John and Emmanuel first met, the duo have grown into a band and have recorded an album that gently but persuasively gets under your skin, through the strength of its beautiful melodies and strong, smart arrangements. Opener 'Tet Lek Schrempf' starts things off with a gentle waltz before crashing in with a flighty mix of conch shell, handclaps and pitched-up guitar riffing. Next up 'Lusaka by Night' charms you with its catchy highlife riffs and spacious pools of electronics, while Emmanuel's auto-tuned voice flutters atop the mix.
Twisting once again, 'Durvs' is essentially a house track with its highlife guitar sounding like it's routed through early British techno. The album finishes on the gentle 'Friend' making a nod to Mali's meditative music, with harp-like guitar and Emmanuel's voice fed through a delicate dubby treatment, dropping an extremely satisfied listener off at the end of the album. RP Boo - a. Kavain Space is a man who is revered and respected amongst the dance music cognoscenti. Going back to the roots of this music, his self released track 'Baby Come On' made in , sampled and looped up ODB over tough syncopated drums, and in doing so spawned one of the first tracks to solidify the style called Footwork.
Later on, in , his track known as '' a. The Godzilla Track was monumental in the evolution of sampling in footwork, chopping up the Godzilla theme taken from 'Simon Says', by Pharoahe Monche and setting off a trend for footwork versions of hip-hop tracks. Many cite RP Boo as the originator of footwork music, and it's hard to argue, when the scrambled, syncopated drum patterns common to footwork can be largely traced back to him.
Kavain was born in West Chicago and moved to the Southside in the 80s. The machine Kavain learnt to produce on was a display model of the Roland R, a drum machine which gave access to all previous Roland drum sounds and the ability to punch in rhythms on the fly, it's the machine he still uses today. RP Boo's music is singular and unusual in Footwork, featuring raps and dialogue adopted from Juke, often in combination with sharp-edged and incidental samples giving some tracks a paranoid atmosphere.
Take ' Homicide's bleak feeling and question and answer vocals, 'Area 72's alien landing scenario or 'Speaker's R-4's audio walk-through. His music is often hectic, seemingly built to to almost psyche-out the listener or offer challenges to dancers; it's this playful and imaginative quality, along with his sometimes baffling-but-it-works rhythms and sub, that give RP's tracks their totally unique feel.
After their collaboration at last year's Unsound festival, there were rumours about a recorded EP from Interplanetary Prophets a. The good news is they were true. These tracks are the fruits of studio jams earlier this year, edited down into three long, dense pieces. And the coupling really works; Interplanetary Prophets feels and sounds like a brand new entity. Burning Chrome opens, stretching effects and warm, filtered chords over popping drums, designed for deep space voyaging.
Zero Hour manages to mirror the intention and seriousness of post-punk electronic bands such as Ike Yard or Monoton, Jamal's deadpan voice dropping incantions over a stark, hypnotising beat, and whooshing atmosphere. The closer, Running out of Time is beatless, and cosmic. Held together with pulsing bass and quiet breathing, notes flicker like burning embers, occasionally shaped by slabs of synth. These are tracks that mirror their creators, carving techno into new shapes with a nod to the past and a foot in the future.
Mike Paradinas has been a pioneer and a mainstay of the electronic music scene for over 20 years now and 'Chewed Corners' is his first proper solo album since As the boss of electronic label Planet Mu, he's always been at the forefront of innovations and has released music by some of the most celebrated modern electronic artists around, from Benga, Kuedo and Machinedrum to Luke Vibert, Venetian Snares and FaltyDL to name just a few.
Mike says he intended the compositions 'to evoke drama and emotion' and while the music was made with no conscious influences, after listening back Mike says Kuedo, Aphex Twin, Chicago Footwork, Art of Noise, Orbital, Japan and Rustie must all have had an effect.
While his last album, 's 'Duntisbourne Abbots Soulmate Devastation Technique', was at times as harrowing and miserable as its title suggests, 'Chewed Corners' is almost the polar opposite, relaxed, self-possessed, and a pleasure to listen to. The innovation is subtle and inviting and it exudes happiness. It also foregrounds probably one of Mike's most important characteristics - something that has always shone through his far-reaching experimentation and kept it sounding both personal and accessible - his knack for great melody and lush arrangements.
It's a gentle ride which, even when it nods to aggressive music like footwork on the track 'Tickly Flanks' still manages to find a way to breathe light and joy into the framework. For every woozy moment there's a strong melody that hooks the strangeness in. The seasick chords in 'Wipe' are held together by a building chorus and muscular drum patterns, 'Hug's slow, strange drum patterns and choral synths are underpinned by a lush, warm fretless bass sound. In stark contrast to a large percentage of his previous work, XTEP is joyous all the way through.
The five compositions abandon the furrow-browed quest for cutting-edge exploration exchanging it for an altogether more carefree fun approach, with only the footwork-influenced Monj2 directly referencing any current electronic influences, however even on Monj2, the vintage sound palette dominates. Ritm debuts with ravey piano and whistling synths, condensing early dance music tropes into a gauzy bitter-sweet haze. After the aforementioned Monj2, comes New Bimple which succinctly uses a short space of time, woody, swinging '2-step' drums and downcast piano melody, to bring the EP to a conclusion on a sadder, unresolved note.
If one thing unites the approaches here it's a new-found sense of emotion transformed into sound with the skill of a truly seasoned innovator and soldier. Heterotic are a group formed from husband and wife production team Mike Paradinas and Lara Rix-Martin. Their debut release is a composite of four striking instrumental tracks and four unique collaborations with Gravenhurst, the musical pen-name of Nick Talbot, who is known for his dark, folk tinged output on Warp.
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