Review: The force is strong in this electrifying new EP from DAED, who last appeared on this label in 2017 on a VA release. There are shades of IDM to his complex synths and melodies, while kinetic broken beat drum programming powers the tracks along. The mood is melancholic on "Aria" which is so frantic it feels like it might eat itself, "Voidal" has fizzing, icy textures that will tie you in knots before "H2FSBF6" really pulls of some impressive synth acrobatics. "Ephemeris" is the warp speed closer that tarps you in a gorgeous digital world.
Demdike Stare - "Demdike Stare Meets Shangaan Electro"
Demdike Stare - "Demdike Stare Meets Shangaan Electro" (version)
Hype Williams - "Hype Williams Meets Shangaan Electro"
Hype Williams - "Hype Williams Meets Shangaan Electro" (version)
Review: Honest Jons are our undisputed favourites as far as bringing forth new and unexpected projects goes. One such project is their glorious string of releases which saw several contemporary electronic producers re-interpret the South African electro deluge of Shangaan Electro, a near 10 piece band consisting of wild dancers, freaky masks and ludicrously memorable anthems. This release features the experimental duo of Demdike Stare and the mysterious but wonderful pair that is Hype Williams. Demdike's remix is a sparse and sub-aqueous drone filtered through irregular bongos and melting swirls of voices, whilst the "version" pretty much reduces those already scarce drums to mere memories. Over on the flip, Hype Williams create a sublimely majestic rhythm, those vocals swaying so darn effortlessly over the rugged drum kit pouncing lazily beneath it. Their version injects a severely chopped slice of bass and concentrates primarily on the percussion - mounds of delays and reverbs present in true HW fashion.
Review: Firecracker Recordings' Unthank label has been a decidedly intermittent concern since it's eye catching arrival back in 2010 with the Parris Mitchell mangling antics of Berlin dwelling Estonian producer Bakey USTL. It makes for somewhat poetic reading that the label's sixth release should usher in the return of a producer whose last apparent production credit was a contribution to the Fudge Fingas cut "Fidgety Friends" way back in 2007! Quite what the West Yorkshire based Denaji has been doing in the subsequent years is not clear, but your focus should be on his contributions here, with the Wuhti 10" quite sublime. The title track and "Dharma Dharma" are the sort of star gazing boogie and fizzing deep house that fit snugly into the overarching Firecracker sonic canon and do check the wondrous remix of "Wuhti" from Norwegian Sex Tags mastermind DJ Sotofett.
Review: Sometimes, a single side of vinyl is all you need. That's certainly the case here, as Where To Now regular Beatrice Dillon delivers her most impressive and mind-altering club cut yet. Across a mesmerizing 13-minutes, Dillon distills the essence of Minimal techno, dub, West African rhythms, early jungle and experimental noise into one, constantly evolving dancefloor burner. While the blazed vibe of dub, and the crackle of vintage vinyl are ever-present throughout, it's the subtle shifts in rhythmic emphasis - from 4/4 to breakbeat, via intricate polyrhythms - that make "Can I Change My Mind" such an alluring prospect. Few 13-minute tracks can captivate a dancefloor throughout, but this certainly can.
Review: The partnership of Kassem Mosse and Beatrice Dillon; Dillon Wendel is a place for the two respected artists to explore soundscapes, aesthetics and synthesis in pastures aeons away from the dancefloors they're most familiar with. Both compositions weighing in over 15 minutes, they're experiences which challenge form and convention; "Pulse" ripples with its namesake, a texture that buzzes and drones in endless waves while "High" mutates a warmer, grainer tone with dizzying effect.
Review: By now Future Nuggets have surely been established as one of Romania's leading exponents of leftfield electronic oddities, and they don't disappoint on the surprising delights of this new 7" from Renato Din Sala and Ion Din Dorobanai. There's an Eastern lilt to the vocals and melodies on both tracks, but they're framed by some wonderfully quirky synth parts and budget drum machines. "Nu E Injoseala (N-am Carti De Credit)" in particular capitalises on cranky monosynth squelch and organ wails, while "I Love You Viata Mea (Lema)" takes a more energetic approach and works some Rhodes-like sounds into the mix.
Review: Bogdan Drazic's two debut EPs for Giallo Disco, a pair of monumentally aggressive EBM/techo deviations, were good enough to capture the attention of Will Bankhead's TTT stable, propelling the artist onto a new stage, with a new set of listeners. In fairness, Bankhead has picked some pretty 'out-there' material from Drazic, with the opening "Nang Nubia" being a marvellously twisted whirlpool of techno and metallic power-core, followed by the quirky mechanics of "Goa, Goa, Gone". For the flip, Bogdan delivers "Jack Dat Wabbit", a more bass-heavy stomper with a supremely off-kilter groove under its hood, whereas "Trip This Joint" waves its heavy folds of bass over a broken, disJOINTed medley of beats. Lush. TTT-approved.
Review: The Durian Brothers consist of rising polyrhythmic talent Don't DJ, outernational adventurer Harmonious Thelonious and Salon Des Amateurs resident Marc Matter. Following their excellent outings on Kontra-Musik and Diskant, the experimental trio build on a burgeoning relationship with Emotional Response by gathering together some of the best of their intense, globetrotting sounds. There's a great focus on cyclical rhythms, not least on the wonderful "Planete Sauvage", while "Mille Yeaux" takes a more spacious, groovy route through wooden percussion and pinging organic tones. Considering the scarcity of the original Diskant pressings of these tracks, this collection couldn't come quickly enough.
Review: Los Angeles based producer Alex Gray aka D/P/I of CHANCEIMAG.es returns, this time on French imprint Shelter Press with more avant electronics excursions on the Composer LP. Thee seven sound collages are said to be an experiment in rhythm, where human error is introduced to basic sounds (such as a djembe or conga) via midi controllers, introducing complex processes and effects which naturally developed into compositions. Gray himself hopes his album "can act as a beacon of creativity for future generations, who are currently being completely saturated by marketing content for products and media that will do nothing but confuse and distract them.
Review: Federico De Caroli's Deca project has been waving the flag for Italy's ambient and mystique concrete scene since the mid 1980's. The man's albums, which span a wild and diverse set of experimental sounds, are a rarity these days; this particular reissue, Deca's debut from 1986, is going for near L300 on Discogs, so count this your lucky day. Mass, as the name curiously implies, is a rip-roaring fest of a journey through the deepest and most cavernous of coldwave sounds. With its high-speed pace on the drums and a grainy, grey-scaled coating to round it off, it feels like rave music way before the term was coined. Proto-techno also doesn't it do any justice because tunes like "Inseminoid" or "The Door" go much further than that, heading way out into unknown territories which then became second nature to artists like AFX about a decade later. If you're into your dance music on the industrial side, and if you like it cooked raw, then this will please you endlessly. Be quick, though!
Review: Jean Pierre Decerf's records have been sampled by top talent in the game (Wu-Tang Clan's RZA) and have also been massively inspirational to the likes of indie talent such as Air. However, the Parisian has always been something of a recluse and it's only now that his best moments have been collected into a definitive compilation by Born Bad Records. As both the cover and title suggest, this stuff is pure psychedelia from start to finish and tracks like "Like Flight" are simply stunning, where freaky guitar riffs meet with twisted synth patterns, funky percussion swings and seductive vocals. Not to exaggerate or anything but this LP might well be the best thing that's landed here at Juno HQ this week and you'd be silly not to pick it up. Essential electronic and discofied innovations.
Review: An LP which features music by originally recorded in 1969 by BBC Radiophonic Workshop members such as the late Delia Derbyshire, Brian Hodgson and the American born composer David Vorhaus: who later formed as the experimental electronic band White Noise. It was released by the Standard Music Library label, set up in 1968 by Bucks Music and London Weekend Television who also supplied production music for use in TV, commercials, radio and film. Many of these tracks were also used in the 1960's cult TV show 'The Tomorrow People' and each one has a short description of the music after the track title. Derbyshire and Hodgson assumed pseudonyms in the credits: Li de la Russe & Nikki St. George respectively. Two of the tracks are co-written by the pair, who also worked together on Unit Delta Plus: an organisation and studio project which was extensively involved in the promotion and exploration of electronic music at the time. Legendary stuff!
Review: Glasgow's 12th Isle collective describe themselves as a "label, nightlife institution, and occasional radio broadcaster," and their debut release will find favour with anyone that keeps up to date on the inner workings of Going Good, Firecracker, Mood Hut to SUED and Acido. Thoughtstream is a truly delightful album recorded by St. Petersburg-based duo Dices + AEM, spanning some 11 tracks recorded over the duration of 2015 by the Udacha and Gost Zvuk affiliates. Influences from early sequence-based electronics and vintage space rock abound throughout Thoughtstream, paired up with a diverse rhythmic approach that is quite reminiscent of the Aquarian Foundation album that Going Good put out a few years back. Extra points are awarded for the superb silk-screened artwork courtesy of 12th Isle's own Al White.
Review: In our world, pretty much anything that's released on Portland's Audika imprint is worthy of a pedestal. The infamous label have been responsible for the majority of the reissued Arthur Russell catalogue, so they have that special glint in their eye when its comes to outsider rock, folk and electronica. They're back with something new this week, a nutty compilation of anarchic experimentation from the newly crowned Dirty Songs. To give some context, that is David Toop (bass, guitar, digital electronics, VCS3 synth), Phil Minton (voices), Evan Parker (soprano and tenor saxophones), Steve Beresford (Farfisa organ, VCS3 synth), and Mark Sanders (drums). Throughout these sixteen tracks, this group of outsiders converse and chatter, mingle and destroy, all at the same time; apparently inspired by recordings from Pink Floyd, the MC5 and other anti-establishment groups from the past, these dirty songs are a point of reference for anyone with a bit of rebellion in their stomach. Recommended!
Review: In which Mannequin become the latest label to dip into the vast CDr archives of Legowelt's dormant Strange Life Records. Originally released back in 2007, Mons Testaceum was the debut album from MinimalRome co-founder Heinrich Dressel and the onset of a trilogy dedicated to Monte Testaccio, an artificial mound in Rome composed almost entirely of 'testae', fragments of broken amphorae dating from the time of the Roman Empire. Notable for the prominent usage of Elka Synthex, a legendary Roman synthesizer, Mons Testaceum remains a wonderful curio of the Dressel discography and fans of the Italian's work will delight at the chance to own it on vinyl thanks to MNQ!