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Brannten Schnüre, "Sommer Im Pfirsichhain"

Brannten Schnüre - Sommer Im Pfirsichhain LP

Brannten Schnüre is an experimental dark folk group out of Würzburg, Germany. Christian Schoppik composed and played all the music, Katie Rich whispers, recites and sings. Together they make astoundingly beautiful folk with a rich instrumentation leaning towards the atonal spectrum. Instrumental wanderings stand alongside Nico-esque poetry tales. Christian plays the accordeon and in some songs guitar and flute. Inspired by hierophants like Nový Svět and David Jackman, solemn song fragments (a lot of old greek rembetiko-recordings) are modified and looped, with additional instruments and voices being integrated later on. His music has been described as "surreal folkcollage" and "German hauntology."

With the emergence of Schoppik's second project, a dada cabaret called Agnes Beil in 2010, Brannten Schnüre moved closer to the song structures of its frivolous sibling. The songs of Schoppik’s latest creation Sommer im Pfirsichhain are further accompanied by a female singing voice, lending the pieces the voluptuous quality of a stickily tense midsummer.  Sommer Im Pfirsichhain (Summer In The Peachgrove) is the second part of a quartet of releases. The first being Aprilnacht which got released on Sic Sic Tapes last year. Part three Geträumt hab' ich vom Martinszug and part four will follow later.

Reference points are bands like Winter Family and Twinsistermoon. Music etched on folkloric, ritual elements transferred into the 21th century. Also worth mentioning is the hand-drawn artwork which is made by artist Gwénola Carrère.

More information can be found here.

4234 Hits

En, "City of Brides"

City of Brides by En.  Vinyl Double LP.

City of Brides is the third full-length album by En, the Bay Area-based duo of multi-instrumentalists Maxwell August Croy and James Devane. It was recorded over the last few years in a variety of contexts and follows upon 2012’s well-received Already Gone, further developing the diverse sonic palette of that record. Across four sides, the pair present exotic, transportive, and richly detailed pieces that toe the line between ecstatic longform ambience and elegant, structured electronic composition. As always with En’s output, the koto is a focal point, its distinctive tone ringing out amidst the hazy guitar, vocal, and synthesis environments that surround it. The material on the record ranges from moody to celestial, from cool to white hot. Pieces such as "Blonde is Back" and "Mendocino Nature Rave" merge sizzling modular synth lacework with plaintive, familiar drone clouds to rapturous ends, while the two-part "Songs For Diminished Lovemaking" sequence charts a more minimal and nostalgic course. With City of Brides, we’re pleased to present En’s most realized and defining statement to date, a welcome addition to the ever-expanding and fertile topography of American West Coast drone music. Artwork by Justin Almquist.

More information can be found here.

4284 Hits

Apparat, "Multifunktionsebene/Tttrial And Eror /Duplex"

Most people got to know Apparat through his albums Walls and The Devil´s Walk and don't know much about his electronic music dating back to just after the turn of the millennium. In his early twenties at the time, Apparat created an autonomous, radical sound universe on those albums that even today has just as fascinating an effect on its listeners as it did back then. Shitkatapult is now bringing the three albums together in a beautifully rendered special edition. Produced between 2001 and 2003, the music has been painstakingly remastered by Mike Grinser.

More information can be found here.

4269 Hits

Shinichi Atobe, "Ship-Scope" reissue

Ship-Scope by Shinichi Atobe.  Vinyl 12

Hugely sought-after techno classic  - the precedent to Butterfly Effect, originally released on Berlin’s legendary Chain Reaction and out-of-print for 15 years, now newly remastered from vinyl by Matt Colton at Alchemy. A massive personal favourite of Demdike Stare's, Shinichi Atobe's Ship-Scope was Chain Reaction's penultimate release in 2001 and, with the benefit of hindsight, also one of the legendary label's most sublime offerings.

Phase fwd to 2015 and DDS rightly put it back into circulation with this necessary reissue arriving in the wake of Atobe's much loved archival salvage, Butterfly Effect, which caused quite a ripple in late 2014.

Notable not only for its unusually sweeter, dreamier ambient tone - especially when compared with the rest of the CR#'s - but also for its happily lost-at-sea feel, connoting a deeply romantic and almost shoegazy late '90s / into-the-'00s deep techno aesthetic that would essentially become washed away with the advent and normalisation of mnml techno's pristine production values.

-via Boomkat

4745 Hits

Matmos, "Ultimate Care II"

Matmos announce Ultimate Care II, an album of washing machine sounds

Matmos announces new album Ultimate Care II, sound-sourced entirely from a washing machine

Harvesting the machine’s chugs,  drones,  splashes, and clanks, Matmos has crafted a work of sly humor and dazzling artistry

Since their formation 20 years ago, driven by their abiding belief in the musical potential of sound, the duo Matmos (Drew Daniel and M.C. Schmidt) have created a wide range of imaginative recordings and live performances. In addition to releasing a string of acclaimed electronic music albums, they have played the uterus and reproductive tract of a cow at the San Francisco Art Institute, canisters of helium at Radio City Music Hall while opening for Bjork, and John Cage’s personal collection of conch shells at Carnegie Hall. Their forthcoming album Ultimate Care II perfectly reveals their artistry; they made it entirely out of the sounds generated by a Whirlpool Ultimate Care II model washing machine in the basement of their home in Baltimore, Maryland.

Harvesting the machine’s rich vocabulary of rhythmic chugs, spin cycle drones, rinse cycle splashes, metallic clanks and electronic beeps, Matmos have crafted a work of sly humor in which one of the quintessential sounds of everyday life is transformed into an unlikely source for a surprisingly listenable suite of music. Dan Deacon, Max Eilbacher and Sam Haberman of Horse Lords, Jason Willett (Half Japanese), and Duncan Moore (Needle Gun) all took part, either playing the machine like a drum, processing its audio, or sending MIDI data to the duo’s samplers. The result is a suite of rhythmic, melodic and drone-based compositions that morph dramatically, but remain fanatically centered upon their single, original sound source. Ultimate Care II swirls with perverse paradox: it is at once funny and sad, bouncy and creepy, liquid and mechanical.

Ultimate Care II will be released on February 19, 2016.

More information will eventually be found here.

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Arash Moori, "Heterodyne"

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I’m going to do something I never do – I’m going to write this press release in the first person.

This is a very special release and it’s been a long time coming. I met Arash Moori when we both attended the same Art School in Birmingham in 2000. We quickly realized that we both liked music – I think it was a shared love of To Rococo Rot or Metamatics that sparked the first conversation – and within weeks of meeting each other we were DJing fairly regularly. We kicked off a number of nights in the city, some successful (Default, which birthed the Type label), some not (Left Handers Disco, which confounded punters who didn’t understand how well Kelis mixed with snd). Arash was also kind enough to teach me some production tricks as I was putting together my first album.

In 2002, Arash headed to Finland to continue his art studies, and began to experiment with electricity and light. These experiments informed the direction of Heterodyne – I’ve been waiting 13 years for this record. It’s the experimental Chinese Democracy, except worth the wait.

Over the years, Arash pieced together a deeply personal palette of electrical sounds from strobe lights, fluorescent lights, radios, plasma balls and electronic devices. He exploited the peculiarities of these devices to create harsher and more aggressive sounds. This gave way to a series of live performances using minimal hardware and self-built devices to structure, shape and trigger sounds rather than resorting to samples. The computer was an editing device, not a compositional one.

Heterodyne is the culmination of these experiments. The resulting tracks are far more than academic exercises: Arash has taken years of theory and woven together a spiky collection of coarse techno and disorienting drone. The raw electrical textures and rhythms he spent years collecting are framed by analogue synth pads and oscillators which add contrast and levity. It’s a demanding listen, certainly, but a rewarding one.

This is an album I’ve seen develop for longer than any other and it’s a pleasure to unleash it on the world. Our own collaboration LP (touted for release on City Centre Offices in the early 00s) will never see the light of day, but Heterodyne may be one of the most personal records I’ve released on Type to date. Enjoy.

-John Twells, October 2015.

More information can be found here.

4205 Hits

Andrea Taeggi, "Mama Matrix Most Mysterious"

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Italian artist Andrea Taeggi’s latest full-length is a rich exploration of tense, rhythmic minimalism. Unlike his work with Koenraad Ecker as Lumisokea and his material under the Gondwana moniker, Mama Matrix Most Mysterious showcases Taeggi’s interest in finding strength in simplicity. Taeggi was able to limit himself by working on old modular synthesizer systems – the Buchla and the Serge to be exact. “I needed to adapt to them,” he admits. “I don’t actually master them, which isn’t necessarily a disadvantage.”

This playfulness buoys Mama Matrix Most Mysterious throughout, distancing it from the litany of self-involved modular synth LPs filling the shelves right now. Rather, the Serge and Buchla systems allowed the Italian producer to realize his rhythmic and timbric visions. Taeggi filters decades of beat-driven electronic music through these machines to come up with a record of chattering bass-heavy experiments that sound like little else. You’d struggle to dance to it, but Taeggi’s sound is so physical that you can almost feel the electricity running through the circuits. And isn’t that exactly what electronic music should be about?

More information can be found here.

3756 Hits

Christopher Bissonette, "Pitch, Paper & Foil"

Pitch, Paper & Foil by Christopher Bissonnette.  Vinyl LP, CD.

Christopher Bissonnette:

"This new series of works reflects an evolution of my adeptness with modular synthesis. As with my previous release Essays in Idleness, Pitch, Paper & Foil was constructed from a range of synthesis and compositional techniques. The goal with this album was to form a collection that exhibits more restraint than previous works. Modular synthesis can be an unruly medium and taming it in order to produce delicate or subtle tones can be challenging. As with Essays, I have allowed the artifacts of the process to find their way into the finished product. Tape noise, distortion and by-products of the random sequencing method all contribute to the character of the final recordings."

Kranky:

Continuing the explorations of the analog synthesizer first revealed on his last album, Bissonnette's deft touch in recording and mixing is a joy to experience. While most contemporary analog synth slingers find themselves unable to not overload the sound-field with the endless array of possibilities the instrument provides, Bissonnette provides a master class in economy and control.

More information can be found here.

3974 Hits

Personable (M. Geddes Gengras), "New Lines"

New Lines by Personable.  Vinyl LP.

Since his self-titled LP debuted on Peak Oil in 2012, M. Geddes Gengras has amassed a following for his distinctive take on synthesis, with releases on Umor Rex, Leaving, and Opal Tapes. New Lines is his anticipated homecoming to Peak Oil.

“New Lines” sees Gengras delve deeper into the copper plated, arpeggio spewing nooks and crannies of his prodigious modular synthesizers, dragging them across vast expanses of infinity oscillations via stops in Detroit techno’s neo-romantic strings (“Bushi”) and Manchester’s early 90s grime-soaked IDM clatter (“Cris Rose”).

When absorbed in its entirety, New Lines is an expansive step forward for Gengras’ futurist sonic explorations.

More information can be found here.

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Norman Westberg (Swans), "13"

In 2015, Room40 is proud to announce the release of a series of works from American guitarist and composer Norman Westberg.

Best known for his work with the seminal outfit SWANS, Westberg’s output beyond that group is sprawling and restless. His name recurs and ripples through many interconnected micro-histories surrounding New York City’s music and art scenes. From appearances in film works associated with the Cinema Of Transgression, through to his participation in bands such as The Heroine Sheiks and Five Dollar Priest, Westberg’s name is woven deeply into the fabric of New York over the past three decades.

His debut release with Room40 is 13. Originally recorded in 2013, Thirteen has previously only been available in an ultra-limited hand made edition of just 75 copies.

The Room40 edition of 13 has been completely re-mastered and edited and is available for the first time digitally, as well as in an elegant physical edition.

A note from Lawrence English:

“Norman Westberg’s guitar playing with SWANS has influenced a generation of musicians across genres. I can personally attest to how his particular approaches to that instrument, in creating both harmony and brute force, have challenged and ultimately influenced my own sonic preoccupations.

What Norman has created with his solo works is an echoing universe of deep texture and harmonic intensity. His solo compositions generate an affecting quality that drives the listener towards reductive transcendence.

His guitar, as singular source, becomes transformed through a web of outboard processes. He transforms vibrating strings completely, taking singular gesture and reshapes it through webs of delay, reverb and other treatments. To me, these works echo many of the concerns of American minimalism and sprawl towards the work of bands such as Stars Of The Lid. Norman has created a very dense and powerful statement of intent with these recordings and I couldn’t be more pleased to have some small part in helping to share them.”

More information can be found here.

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Swans, "White Light/Love of Life" reissues

Swans announce White Light from the Mouth of Infinity reissue

Swans continue their remastered reissues series on Young God Records/Mute with the release of White Light from the Mouth of Infinity and Love of Life on Dec. 4 2015.

The two albums will be initially released as a limited vinyl box set, presented in the original restored artwork, which includes paintings by Deryk Thomas. The 2500 micron black lined box - with original logo in silver foil block in black paper - will also include 2 rare posters, a CD of outtakes and contemporaneous live recordings and a download code for both albums.

In addition, White Light from the Mouth of Infinity and Love of Life will be available as a 3xCD set (which will include the bonus disc), individual vinyl albums and digitally.

White Light from the Mouth of Infinity, Swans’ seventh studio album originally released in 1991, is considered the starting point for the second section of Swans' inimitable history. Described as "…the glistening, glimmering sounds of the pensive countryside" by Stereogum, this will be the first time White Light from the Mouth of Infinity has been available on vinyl since its original release on Young God Records in 1991. The vinyl issue will include the track "Blind," not included in the original release.

Love of Life, the band’s eighth studio album, followed soon after in 1992. According to Allmusic’s Ned Ragget, "Love of Life continues the astounding creative roll Swans found themselves on … yet another Swans masterpiece." The vinyl version of this album has also been unavailable since its original release.

More information can be found here.

4359 Hits

Steve Hauschildt, "Where All is Fled"

Steve Hauschildt's new album is his first since the late 2012 release of Sequitur. Although Where All Is Fled sonically harkens back to his earlier albums such as Rapt for Liquid Minister and Tragedy & Geometry, it slowly becomes apparent that it is also a divergence from those recordings.

Both the artwork and the music on this new work were heavily inspired by surrealist landscape paintings, early alchemical emblems, and recurring visions.

The result is a pristine series of cascading melodies, fantastical terrains of layered lattices, and overlapping patterns of synthesizers superimposed with orchestral instrumentation. Hidden in the crevices of the album are processed crowd sounds, re-sampled text-to-speech synthesis, piano, and animal noises which reveal themselves after repeated listens and blur together notions of artificial and natural sound. While slowly unfurling, each sound is given it's own place and space, never hurried, never cluttered.

More information can be found here.

3725 Hits

Zelienople, "Show Us the Fire"

Show Us The Fire by Zelienople.  Vinyl LP.

Zelienople exist as a unique entry in the pantheon of Chicago musicians pushing the boundaries of genre. The quartet takes basic song-structures and textural palates of folk and rock and infuses them with the spontaneous fluidity of jazz and the shimmering haze of ambient music, emphasizing subtle facets of each genre to create their own individual style.

Show Us The Fire is Zelienople’s first album for Chicago’s Immune Recordings and shows the band taking a more simplified approach to recording. These songs were written with live performance in mind, with each band member sticking to their primary instrument on every song. Zelienople, like Codeine before them, are masters of hushed anxiety, burying anger and discontent under layers of reverb and masking it with slow tempos.

More information can be found here.

3546 Hits

Tortoise, "The Catastrophist"

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Simply put, Tortoise has spent nearly 25 years making music that defies description. While the Chicago-based instrumental quintet has nodded to dub, rock, jazz, electronica and minimalism throughout its revered and influential six-album discography, the resulting sounds have always been distinctly, even stubbornly, their own.

It’s a fact that remains true on The Catastrophist, Tortoise’s first studio album in nearly seven years. And it’s an album where moody, synth-swept jams like the opening title track cozy up next to hypnotic, bass-and-beat missives like “Shake Hands With Danger” and a downright strange cover of David Essex’s 1973 radio smash sung by U.S. Maple’s Todd Rittman. Throughout, the songs transcend expectations as often as they delight the eardrums.

Tortoise, comprised of multi-instrumentalists Dan Bitney, John Herndon, Doug McCombs, John McEntire and Jeff Parker, has always thrived on sudden bursts of inspiration. And for The Catastrophist, the spark came in 2010 when the group was commissioned by the City of Chicago to compose a suite of music rooted in its ties to the area’s noted jazz and improvised music communities.

Tortoise then performed those five loose themes at a handful of concerts, and “when we finally got around to talking about a new record, the obvious solution to begin with was to take those pieces and see what else we could do with them,” says McEntire, at whose Soma Studios the band recorded the new album. “It turned out that for them to work for Tortoise, they needed a bit more of a rethink in terms of structure. They’re all pretty different in the sense that at first they were just heads and solos. Now, they’re orchestrated and complex.”

“All of the songs went through a pretty intensive process of restructuring,” adds Parker. “We actually had quite a lot of material that we ended up giving up on. Oftentimes, we’ll shelve ideas and come back to them years later.”

The album’s single “Gesceap” embodies the transformation of the original suite commissions, as it morphs from two gently intersecting synth lines into a pounding, frenzied full-band finish. “To a certain extent it’s more of a reflection of how we actually sound when we play live,” says McEntire of Tortoise’s heavier side. “That hasn’t always been captured as well on past albums.”

Elsewhere, “Hot Coffee” resurrects an idea abandoned from the band’s 2004 album “It’s All Around You,” gliding through only-on-a- Tortoise-album sections of funktastic bass lines, straight-up dance beats and Parker’s fusion-flecked guitar bursts. “It’s progressive experimental music with pop sensibilities,” says Parker.

“Rock On,” which McEntire says he and McCombs simultaneously had the idea to cover after having remembered hearing it on the radio all the time as kids, isn’t the only vocal moment on The Catastrophist. Also included is the bittersweet, honest-to-goodness soul ballad “Yonder Blue,” sung by Yo La Tengo’s Georgia Hubley. “We’d finished the track and decided it would be good to have vocals on it,” recalls McEntire. “Robert Wyatt was our first choice, but he had just retired and politely said no. We were discussing asking Georgia to do something, but not that track in particular. Then we realized it would totally work.”

Tortoise is planning an extensive world tour in support of The Catastrophist. Admits McEntire, “figuring out how to reproduce these songs live will be a bit of a challenge. But I also feel like it might be time to dip into the back catalog a bit. The pool we draw from has been really consistent for quite awhile.

As ever, Tortoise has conjured sounds on The Catastrophist that aren’t being purveyed anywhere else in music today. There’s a deeply intuitive interplay between the group members that comes only from two decades of experimentation, revision and improvisation. And at a time when our brains are constantly bombarded by myriad distractions, The Catastrophist reminds us that there’s something much greater out there. All we have to do is listen.

More information can be found here.

4339 Hits

Sunn O))), "Kannon"

Sunn O))) Announce Kannon LP

Composed in the aftershadow of SUNN O)))'s most recent successes in immersive collaboration -- the group having worked with Scott Walker on Soused, and Ulver on Terrestrials in 2013 and 2014 -- and also from the broad and influential wake of their epitomic Monoliths & Dimensions, Kannon emerged both independently as a conceptual entity and with roots in the legacies of those projects, yet was fully realized years later in 2015. The album consists of three pieces of a triadic whole: "Kannon 1, 2 and 3."

The album celebrates many SUNN O))) traditions; Kannon was recorded and mixed with SUNN O)))'s close colleague and co-producer Randall Dunn in Seattle, in Studio Litho, Aleph and Avast!, and the LP includes performances by long-term allies and collaborators Attila Csihar, Oren Ambarchi, Rex Ritter, and Steve Moore to name a few. At the core, the composition centers around the dynamic and intense guitar and bass interplay of SUNN O)))'s founders: Stephen O'Malley & Greg Anderson.

It is possibly the most figurative album SUNN O))) has created, which is unusual as they usually dwell in layers of abstraction and subjectivity. On the other hand the album is the most outright "metal" in years, drawing personal associations and memories of cherished albums like Panzerfaust and Twilight Of The Gods again to the forefront of consciousness. Kannon is also very close to the cyclical character of mantra which the band has evolved into as a living creature, the enormity of intense sensate detail and manifestation of the live in concert element of SUNN O))), the organism that has flourished, metamorphosed and transcended tremendously over the past ten years.

The literal representation of Kannon is as an aspect of Buddha: specifically "goddess of mercy" or "Perceiving the Sounds (or Cries) of the World." She is also sometimes commonly known as the Guanyin Bodhisattva (Chinese: 觀音菩薩) amongst a plurality of other forms. There is a rich lineage behind this idea tracing back through many Asian belief systems, with as many names and cultural personifications of the idea.

SUNN O))) commissioned critical theorist Aliza Shvartz to write text and liner notes around these ideas and topics. She also explores the relations and perceptions to their approach to these ideas via the metonym of music and SUNN O)))'s place/approach within the framework of music and metal overall. The band also enlisted Swiss designer/artist Angela LaFont Bollinger to create the cover artwork, an abstracted sculpture of vision of Kannon. French photographer Estelle Hanania captures portraits of the core trio (Csihar, Anderson, O'Malley) in the impressive and obscurant Emanuel Vingeland mausoleum in Oslo.

Kannon will be available on gatefold LP, CD and digital formats worldwide on December 4th.

More information can be found here.

4241 Hits

Kangding Ray, "Cory Arcane"

cory arcane found her comfort zone in a constant state of crisis, and her liberation through love, sensuality, and high-speed internet access.

as some might recall, she used to struggle with her own decay, navigating an intricate web of bureaucracy, endless social-media scrolling, 24-hour news channel feeds and marketed strategies of seduction.

her intense and continuous obsession for surf, breakdancing and cat videos might have saved her from a silent decline, but it would be her first attempts at integrating a professional ballet company that provided the initial spark. her unorthodox dance movements were often considered shocking, transgressive, and barely legal; and even though some recognised her genuine talent, it was clear she would never make it into this structure. this is when she started her slow drift towards the outer limits of society, in search of the way to achieve the conditions for absolute freedom.

her emancipation was surely marked by different forms of excess: the inappropriate use of fireworks, the consumption of large quantities of alcohol and controlled substances, as well as the occasional blasts of kitchen appliances.

she bypassed the gender war and became an expert in advertising sabotage. soon cory would give academic courses on the true liberation of the mind, or, in her own words, the apotheosis of senses.

lately, she could be seen squatting in the outskirts of different giant metropolises, embracing the mayhem, contemplating the crumbling of a system. the sound of the city, mixed with the music on her headphones, would weave complex rhythms and futuristic textures into a beautifully coloured, pixellated surface.

looking out onto this fabulous chaos, she smiled.

»cory arcane« is kangding ray‘s fifth album on raster-noton and will be released as CD, double vinyl LP, and digitally.

3475 Hits

Coil Threshold Archives Reissues

COIL -

Threshold Archives has just released eight Coil CDs.

Read about it here.

376 Hits

Vainio & Vigroux, "Peau froide, léger soleil"

"Sheathed in some of the best album artwork of 2015, Mika Vainio and Franck Vigroux reveal the buzzing and psyched-out electronic sculptures of Peau froide, léger soleil on Shapednoise's Cosmo Rhythmatic label.

The latest and arguably most powerful in a long line of collaborations between the Finnish producer and his peers aesthetically finds him closest to the crushing electronics + processed guitar equations of Life (… It Eats You Up) (2011) or Kilo (2013), but also with a couple of brilliant runs into vocodered, sidereal electronics that really set this record apart.

Three years in the making, following a live collaboration in Paris 2012, Peau froide, léger soleil is an exercise in sensitive intensity and spatial scale, seamlessly mapping Vigroux's alchemical guitar process into Vainio's free swaggering structures and tonal extremities.

From the deep freeze intro and craggy peaks of opener "Deux," they take in the ice palace designs of "Mémoire," which first reveals the strange voices that come to haunt the rest of the record, emerging from the buzzsaw blasts and subbass waves of "Souffles" like the ghost of Bruce Haack, or creeping like hyaline spectres from the microtonal gloam of Ravages."

However, if you're after out-and-out Vainio wreckage, they excel at that too with later trax such as the white-out guitar storm of Parabole," and certainly in the finishing move of funked-up electro bass riffs and banking amp buzz entitled "Le crâne tambour."

Effectively it's the heaviest you'll hear from this icy and bloodied corner of the field this year, and surely marks the Cosmo Rhythmatic label as one to watch."

-Via Boomkat

3785 Hits

New Colin Potter cassette box set

AVAILABLE FOR PRE-ORDER NOW! RELEASED FOR CASSETTE STORE DAY ON OCTOBER 17th.

Last year's reissue of the first 6 of Potter's tapes for CSD proved to be very popular, so we are re-releasing his last 3 ICR tapes, Recent History 1 & 2 and See and also 3 'new' tapes, Hiss Story 1 & 2 and Are We Nearly There Yet?, which collect various unreleased, compilation & remixed tracks from the same era. All have artwork by Jonathan Coleclough and are professionally duplicated on chrome tape.

This is what Boomkat says :

"Following last year's instantly sold-out set, Colin Potter's ICR label piece together six tapes of sought-after, unreleased and remixed material from his late '80s phase, just as he was really getting to grips with his gear..

After topping our reissue best-of list in 2014 with the last batch, he's likely to repeat the trick with this collection, staking out more spacious, celestial dimensions and subtly elevated production/engineering values.

This lot look to 1989-1990 (the last set scanned 1980-1982) with two volumes of Recent History touching on a lush, floating new age sound full of diaphanous synths and vaulted reverb settings thru to experimental, recursive guitarscapes and Escher-esque sequencer tessellations that spiral off in dizzying fractals.

By contrast, See (1990) is a pure, unbroken vision of widescreen ambient sound-scaping recalling the sweeping nocturnal flightpath of Goodiepal's Havet - which was written in the same year - travelling from sublime to darker ambient tones which would come to define the tail end of that decade.

But, for collectors and Potter fiends, the last three tapes are perhaps most invaluable, covering the hidden points of his least well-known period, from the pulsing industrial dance music of "Know More" to the blood-curdling darkness of "No Good" in the Are We Nearly There Yet? tape, beside two volumes of dead hard-to-find compilation cuts and obscurities collected as Hiss Story."

More information can be found here.

2015 tapes x 6

 

4166 Hits

Visionist, "Safe"

Having recently partnered with Bill Kouligas to relaunch his Lost Codes imprint as Codes, Visionist takes a defining step forward with the release of his PAN debut album, Safe.

The South London artist born Louis Carnell broke during a period of experimentation in UK music when, with the disintegration of the dubstep scene, emerging producers began looking to juke and Chicago house for inspiration. A pair of EPs on Lit City Trax (and a collaboration with Fatima Al Qadiri) in 2013 and 2014 introduced Visionist’s minimalist take on fractured R&B and liquid grime, establishing him as a leading voice in new-wave UK soundsystem culture.

On Safe, Visionist sculpts and extends that signature into new terrain and makes his most personal statement yet. Distilling his influences down to a sparse palette of manipulated folk, pop and R&B acapellas, icy synths, and metallic drum samples, he plays off ever-present anxiety and his own battle not to let it overwhelm him. “Comfort, protection, salvation—this is what we search for,” he says. “We are taught that a life of no worries is better for us, and therefore we try to create one that is 'Safe.'”

But while safe as a musical concept implies conformity, Safe as an artistic statement is anything but. At a moment when the UK scene, once known for innovation, has settled into rehashing old tropes, Visionist continues to propel his sound into more experimental territory. The album traces the arc of an anxiety attack, from its onset through to recovery. Following the stately discord of brief opener “You Stayed,” the grimy, ballistic assault of “Victim” sends its targets diving into mirrored corners. “I’ve Said” is a brutal, almost militant advance, its sound cutting in and out as though transmitted via shortwave radio. “Too Careful To Care” trades in skittering paranoia, with the soporific “Sleep Luxury” closing out affairs.

More information can be found here.

3556 Hits