Juno Recommends Leftfield: May 2024

Review: Gordon Chapman-Fox is back once again with more of his synth-rich ruminations on the hopes and failures of UK town planning. This time around, the focus is on the community hubs proposed in the concept of the 'new town', which have lost their purpose or even their presence in the decades since the likes of Warrington and Runcorn were built. Given the runaway success of Warrington Runcorn New Town Development Plan in recent years, from buoyant sales to critical acclaim, it's doubtful these fetching creams and purple splattered pressings of his new album on Castles In Space will hang around for long.

Review: Gordon Chapman-Fox's latest album, Your Community Hub, delves into the New Towns movement, particularly focusing on Warrington-Runcorn's community centers and their relevance to modern urban planning discussions like the 15 Minute City concept. The album explores the decline of these centers and the services they once offered, paralleling a broader societal shift away from communal support. Through evocative album artwork featuring architect Peter Garvin's work, notably the Castlefield Community Centre, Chapman-Fox paints a vivid sonic picture of a bygone era of community cohesion. Following the success of 2023's The Nation's Most Central Location, this album is poised to continue Chapman-Fox's critical acclaim and commercial success, offering a poignant reflection on the past and present state of communal life.

Review: The fifth edition of Depeche Mode's Memento Mori white label remixes series hears four new remixes added to the post-hoc vinyl selection, offered to the world after the release of the synthpop pioneers' most recent eponymous album. Beginning with the demure atmospherics of Chris Avantgarde's 'Before We Drown', then into two propulsive, audio-brut experimental downtempo versions by AC, but not before a brilliant pystrance B1 by Indira Paganotto, which makes for a squarely sagacious sendoff.

Review: As compelling as it is unexpected, the ever-prolific Kevin Richard Martin of The Bug fame steps forth with a deeply eerie, lovelorn platter of wheezy dub techno haze, gauzy half-step and hollow, heart-rending ambience, dedicated to Amy Winehouse. In his words: "whilst randomly watching Asif Kapadia's moving bio doc 'Amy', on a long distance flight (...) i realised the scale of her greatness and the tragedy of the circumstances that led to her untimely death" and with 'Black', he offers up a gentle, reverent eulogy to the late singer, calling to mind Burial's charred LDN isolationism, Actress' sparser work, and even what Martin himself refers to as Mark Ronson's 'poptastic' productions, as on fever-coded upright bass shuffler 'Camden Crawling' and 'Black', an ingenious, spectral harmonic flip of Winehouse's Back To Black. A perfect ode to a misunderstood icon.

Review: Originally released in 2007, this From The Archives album from The Future Sound of London has now reemerged from the archives just in time for a special new release for this year's Record Store Day. It has been coveted by fans and collectors alike after over a decade out of print and for good reason - it showcases the electronic pioneer's finest tracks. Limited to just 1200 individually numbered copies, this reissue offers a rare opportunity to experience the timeless soundscapes of FSOL in all their original glory.

Review: If not quite a case of doing exactly what it says on the tin - at least, the long distance space travel mentioned in its title may be of a more cerebral rather than physical nature - this meditative ambient session in four parts from the prolific PIITP label's co-founder is a perennial favourite among aficionados of both this esteemed label and the chillout genre at large and always in demand. Don't be fooled into complacency by this latest reissue, as this hand-numbered random coloured vinyl run is limited to 50 copies, so don't sleep on it. There'll be plenty of time to relax once the record's on!

Review: Jerskin Fendrix, a South London 'Windmill' scenester who has colaborated with Black Midi and is associated with the likes of Black Country New Road among others, is one of the last names you'd expect to see soundtracking a big movie, but then Poor Things' director Yorgos Lanthimos is a character who rarely plays by the rules. This is the first film of his to include an original soundtrack, and also Fendrix's first soundtrack, the latter describing their relationship as being that of young lovers encountering the experience for the first time. The results are coy and innocent sounding, probably as a result, as well stirring and melancholic, with an emphasis on the breathier sounds in the canon and unusual instruments such as harp, bagpipes and hamonium alongside the more traditional strings and other orchestral trimmings. A remarkable soundtrack for a remarkable film.

Review: The finale of the original trilogy had it all, sewers, blimps, mysterious invisible CGI bridges, you name it! What it also had was an incredible soundtrack, now reissued here to commemorate its 35th anniversary. Although Temple of Doom was another box office hit, critical reactions were heavily mixed and it obviously affected director Steven Spielberg enough that he spent a couple extra years on completing the Indiana Jones trilogy. John Williams of course returns with a lot of new themes - there are a couple of artifact themes this time around, both evoking a strong religious feeling, without any of the ominous feeling that some of the other movies' soundtrack have. The first is the primary Grail theme, which appears in the travel cue portion of 'X Marks the Spot.' Most of its appearances were absent on the original album, but restored here. In the case of Indiana Jones, the music is almost as important as the movies - and the Last Crusade was one of the emost original and in depth soundtracks in the series.

Review: Trunk Records unveils Ron Geesin's quirky electro score for the educational TV program Basic Maths, originally aired on Central TV in 1980. Geesin, renowned for his experimental compositions, brings a fresh approach to teaching mathematics to young viewers. As the composer, Geesin crafted a musical landscape that transcends traditional educational programming. Instead of relying on voiceovers, he utilises non-verbal sound and vision to immerse viewers in the world of mathematics. Animated and live-action segments are seamlessly linked by presenters Fred Harris and Mary Waterhouse, creating an engaging learning experience. Geesin's creative freedom shines through in his compositions, which playfully interact with the visual content. From animated sequences to live-action demonstrations, the music serves as a dynamic companion, enhancing comprehension and engagement. Geesin's willingness to experiment with novel techniques and intricate mathematical calculations underscores his dedication to making learning both enjoyable and informative. Trunk Records' release of Geesin's electro score ensures that this unique soundtrack continues to gain new audiences.

Review: Death Row Records and gamma have joined forces for the release of the 30th Anniversary edition of Above The Rim (The Soundtrack), and it is the first time the full 21-song tracklist has ever been available on vinyl - but not just any vinyl it is double yellow with orange and red splatter wax. Initially selling over two million copies and reigning atop the Billboard R&B Albums chart for ten weeks, the soundtrack features classic joints from Tha Dogg Pound, Snoop Doggy Dogg, Dr. Dre, Warren G, DJ Quik, and Al B. Sure! This special edition also introduces tracks from 2Pac, Lord G, and 2Pac featuring Stretch, Treach, and Riddler, which will only enhance its legendary status.

Review: A mythical collaborative live album - documenting an appearance shared between Brian Eno, Can's Holger Czukay and J. Peter Schwalm in 1998 - Sushi! Roti! Reibekuchen! is a three-hour ambient kraut improvisation, which first coincided with Eno's then hot-topic multimedia light installation at the Art and Exhibition Hall of the Federal Republic of Germany, known as the Future Light-Lounge Proposal. Schwalm prepared ideas for the session and guests ate the three foods from the event and album's title; this provided sufficient, but slow-burning energy to fuel the intense whorls, feedback freakouts, snake-charmer melodies and metrically challenging rhythms that make up its sound.

Review: John Williams' iconic soundtrack for Indiana Jones & The Temple Of Doom remains a classic amongst soundtrack fans as it captures the adventurous spirit of the film in every note. With thrilling orchestrations and memorable motifs, Williams once again proves his mastery in cinematic composition from the exhilarating 'The Temple Of Doom' theme to the haunting 'Slave Children's Crusade,' each track transports you in an instant to the heart of the action-packed adventure. The score's ability to evoke a sense of danger, excitement, and wonder is unparalleled and that makes this a must-have for fans of film music and Indiana Jones aficionados alike.

Review: Now here's a rarity for you. Not even many of the most committed megafans know that Brian Eno, Holger Czukay and J.Peter Schwalm, accompanied by Raoul Walton and Jern Atai, performed a secret live music show, outside the esteemed Kunst-und Ausstellungshalle der Bundesrepublik Deutschland, the Art and Exhibition Hall of the Federal Republic of Germany, situated in the city of Bonn, in August 1998. Forming a part of the opening party of Eno's Future Light-Lounge Proposal multimedia installation, this furtively-recorded album hears an exclusive slice of incidental "high-altitude food music", of course made during Brian Eno's airborne ambient era. Now reissued via Gronland, this five-piece cut of sophisti-ambi-krauttronica makes for a welcome surprise.

Review: Mute Records presents a newly reissued and remastered edition of Laibach's classic 1987 album, Opus Dei. This time coming to a black vinyl and CD box set, the album is renowned for its bringing Laibach to a wide audience; without the album's early successes, this pioneering industrial, neo-classical rock outfit might've never broken from their native Slovenia. With their unique interpretations of Opus' 'Live is Life' and Queen's 'One Vision' and produced by Rico Conning, the album still bears the torch of one of Mute's most eclectic yet captivating albums.

Review: Here comes yet another vital album of enthralling ambient from the super prolific Past Inside The Present label head zake aka Zach Frizzell. This is a numbered audiophile vinyl version (including a download code limited to 150 copies) of Veta, which is a world of smoky half-tones that mix up modern ambient classical with analogue production. The artist himself describes the work as "exercise in knowing when to draw back the mix" which speaks to its perfectly reduced sound - a blend of the organic and the synthetic that is masterfully layered and laden with heavy emotions.

Review: Originally released in 1998, Mixmaster Morris & Jonah Sharp's Quiet Logic surprisingly flew under the radar when it came out.- perhaps because of the huge amount of electronic music being released at the time. The pair have some of the most important albums and tracks in their respected genres and are arguably two of the most important figures in the electronic music chill out scene from the 90s, and when you add the input of Haruomi Hosono from Yellow Magic Orchestra on two tracks, it becomes an even more essential listen. Chill out heads unite!

Review: La Monte Young is one of the most important figures in the development of American minimal composition and performance, having explored the science of sound at an atomic level through his use of just intonation and rational number-based tuning systems. His wife Marian Zeeler was also one of his closest collaborators, and in 1974 they released their second album Dream House 78'17" as a demonstration of the ideas they had been proposing in their work. Side A was recorded at a private concert which also features Jon Hassell and Garrett List, while Side B is an extended tonal study via a bowed gong, which was monitored precisely through oscilloscopes for an exacting immersion in harmonic interplay and its physical and psychoacoustic properties.

Review: R.N.A. Organism's 1980 release, R.N.A.O Meets P.O.P.O, reissued and remastered by Stephan Mathieu, is a captivating delve into Kansai's experimental scene. Comprised of enigmatic figures 0123, Zero, and Chance (aka Tatsuo Kohki), the album presents a sonic collage blending metallic beatbox loops, robotic vocals, and glockenspiel motifs. Producer Kaoru Sato (of EP-4 fame) helped sculpt their dub-infused, distorted rhythms and bizarre effects. While initially deemed too avant-garde, the album offers a more direct insight into their visionary sound. The opener, 'Weimar 22,' sets the tone with blown-out drum machines and ethereal vocals, hinting at influences ranging from electro-pop to spannered dub and tape manipulations. Tracks like 'After' and 'Nativity' showcase their experimental abilities, layering environmental sounds and off-kilter melodies over chuggy beats. R.N.A.O Meets P.O.P.O is a fusion of low-budget experimentation and tempered instrumentalism, offering a glimpse into the enigmatic world of Kansai's late 70s scene. Its timeless appeal resonates with listeners, echoing throughout the decades with its prophetic Japanese twist.

Review: Laibach's Opus Dei is the band's third LP, originally released in 1987, offering the Slovenian band's unique blend of uplifting yet disturbing melodies. An essential release from one of industrial music's most important bands, amoing its highlights are two German language covers of their breakthrough hit - a cover of Eurotrash one hit wonder 'Live Is Life' by Opus - and a simialrly Teutonic version of 'Birth Of A Nation' by Queen. Terrifying, enthralling, disturbing and exhilarating - Laibach are all these things and this is a slice of them at their very best.

Review: Early on in Muslimgauze's (Bryn Jones') career, the musician released two ultra-mysterious releases on the equally mysterious label Hessian, which some speculate might've been comprised entirely of Jones himself. Hammer & Sickle was one of these two early LPs from the faux Arabic auteur, and was notable for its distinct lack of any back cover artwork (who needs a visual stimulus when you've got such great music on board?). Though still indicative of Jones' work as Muslimgauze, superfans will note that this release sounds a little more formative than some of his later releases, owing to its lessened use of Middle Eastern instrumentation and sparser production in general. B-sider 'Fear Of Gadaffi' is the most intermittent in this regard, revelling more than anything in the simple effect of spring delay on sampled, freeform perc hits.

Review: Techno talents don't come much more proven than Speedy J and Surgeon. Both are veterans of the game but artists who have remained at the sharp end and their Multiples collaborative project is in part responsible for that. Now it births a full-length album of tweaked experiments that take techno into new realms. The whole thing was recorded in just two days at J's STOOR lab in Rotterdam on an array of hardware machines. Each tune is a raw, one-take affair which means they are perfectly imperfect and feel utterly alive. Techno and elector collide with beatless moments, pummelling low ends and plenty of club heft.

Review: Almost 15 years after her tragic death and admission to the ill-fated '27 club', it's impossible not to tear up when thinking about Amy Winehouse. The untimely loss of such an incredible talent is one thing, gradually understanding that nobody caught and held such a vulnerable person in their time of need is what really hits the hardest. Back to Black, Sam Taylor-Johnson's biographical drama about the UK singer-songwriter and musician's rise to stardom, and the fallout, was never going to be an easy watch, then. As if we needed any more proof, the soundtrack really emphasises just how timeless Winehouse was as an artist. Highlights from her own incredible output are here - 'What Is It About Men', 'Stronger Than Me', 'Valerie', '(There Is) No Greater Love', the list could go on - as are some of the most evocative and captivating soul, blues and r&b tracks of the 20th Century. And there's nothing to separate these from each other, sonically, lyrically, or emotionally. We weren't worthy, and maybe never will be

Review: Elevations is a brand new album from Contours, aka Manchester-based artist Tom Burford who is a drummer and percussionist who draws on that in his always forward-thinking sounds. The album started with him exploring the Balafon, a Malian-tuned percussion instrument. Having got to grips with how to play it he expanded the work into this full length, which is an elegant and deft collection of compositions centred around the rhythmical interactions of percussion, synthesiser and strings. It draws on jazz, minimalism, Fourth World and modern classical to sooth your soul and elevate your mind.