Review: Silent Season's mainstay artist Segue returns with a new album, following up on the well-received immersion of his 2016 LP "Over The Mountains" with further explorations in the hinterland between dub techno, ambient and a more pastoral kind of palette. It's a field he's well versed in, and one that typifies Silent Season's approach as well, but there's plenty of fresh ideas to latch onto here as Segue weaves gorgeous threads of melody around tactile, mossy beds of sound and understated grooves that carry you to far away, inviting places. Even the more pronounced dub techno stylings of "Mirage", for example, sound vibrant and invigorating in Segue's hands - another sterling album from an accomplished producer.
Review: Described in the accompanying press release as "the halfway point between Bollywood and Balearic", Rupa Biswas' 1982 debut "Disco Jazz" has long been a favourite of dusty-fingered diggers with a healthy bank balance and a penchant for the quirky. All four tracks are cheery, charming and superior to many "Bollywood disco" records produced in the same period. The sunny disco-boogie of "Moja Bhari Moja" is followed on side A by the delightfully eccentric, bass-powered AOR-disco/funk-rock fusion of "East West Shuffle" and the effortlessly Balearic cheeriness of "Aaj Shanibar". Best of all, though, is the exotic and intoxicating flipside cut "Ayee Morshume Be-Reham Duniya" which expertly joins the dots between cosmic rock and Balearic disco grooves for 16 spellbinding minutes.
Review: After years spent offering up impressive blends of ambient, drone, electronica and experimental drum and bass as ASC, James Clements has decided to commit more time to Comit (sorry), an alternative project which first surfaced via a debut single in 2016. Here the San Diego-based Brit delivers a first full-length excursion under the alias. There's plenty to soothe and seduce on the eight tracks stretched across two slabs of wax, from the undulating, occasionally skittish beats and sweeping chord sequences of opener "Behind Dulled Eyes" and the icy, doom-laden electronic melancholy of "Reverie", to the early Black Dog Productions flex of "Clouded Over" and the dubbed-out, slow motion bliss of "Soft Focus".
Review: This is when reissues feel like they truly do a service to music that would have certainly disappeared into obscurity - Desmond Coke was a gifted musician who sat in on sessions for the On-U Sound label amongst many other places. His sole solo record was a private press job that very nearly blinked out of existence, but Emotional Rescue have been on hand like the diligent diggers they are to rescue his heartfelt, mightily expressive boogie jams from the one dollar bin. Sunny, sweet and soulful, but also with enough depth and punch to stand up to big budget productions of the era, this is a truly wonderful find that will no doubt be a surprise to even seasoned selectors.
Curimao (Sons Onomatopaicos E Folk Da Guine) (6:48)
Solito (Solo De Balaue) (4:29)
Danado Cantador (Balaue, Orquestra E Declamacao) (A Fagner) (4:46)
Review: For the first in a series of must-have reissues of obscure Brazilian treats, Optimo Music and Selva Discos have joined forces to offer up a new pressing of Fernando Falcao's superb 1981 debut, "Memoria Das Aguas". The eight-track set has long been considered something of a slept-on and hard-to-find classic, with Falcao conjuring up an octet of tracks that brilliantly join the dots between neo-classical movements, dreamy, percussion-led soundscapes (see the sublime "Amanhecer Tabajara (A Alceu Valenca)"), spiraling big band Afro-Brazilian jazz ("Ladeira Dos Inocentes"), intoxicating classical-jazz fusion ("Revoada") and experimental, beat-free sound collages ("Mercado"). In a word: exceptional.
Review: It's not that fans of King Gizzard never expected this from the band's 15th long form outing, but rather anyone who stumbled upon the alliterated outfit on their last offering - "Fishing For Fishes" - is likely to be dumbstruck. Forget the life-affirming blues hues of that record. "Infest The Rats' Nest" sees the band at their heaviest - they are barely audible here beneath the din and cacophony of thrash metal. Exploring Earth's fate in the age of environmental degradation and pollution through "Superbug"'s slow chug and low, bellowed chorus, the driving riffs of "Mars For The Rich", the intensity of "Perihelion" and the screeching chords of "Venusian 2", the album's 9 tracks are as legit as anything this sub-genre has thrown at us since inception in the 1980s. More astute fans will have heard nuances of this on 2017's LP, "Murder of the Universe" and various manic musical explosions in Gizzard's back catalogue. "Infest The Rats' Nest" is a constant barrage of unrelenting energy from start to finish, and quite possibly their strongest album yet.
Review: Militant Detroit techno crew Scan 7 have learned much from their association with Underground Resistance, not least the benefits of myth-making and mystery. This is one of the reasons that "Between Worlds" is fast becoming one of techno's most talked about releases of 2019. Of course, the fact that it's also the seven-piece crew's first album since 2002 has added to the hype, too. So is it any good? Oh yes. Variously deep, spacey, futuristic and foreboding, the album's 13 cuts range from pitch-black acid-fired techno ("I'm Covered") and fizzing techno-funk ("Trackmasta Hoop"), to percussion-laden deep house melancholia ("Deep Roots") and punchy club electro ("It's Time"). For the most part, though, what you get is uplifting, emotion rich techno in the style of their fellow Detroit greats.
Review: With track titles such as "Death Up Close", "Something On Your Mind" and "Shuffling Stoned", it's not going to surprise anyone to learn that Shannon Lay's beautiful long form is a reflective, introverted and tender accomplishment. A place where acoustic guitars regularly lull us into dream-like states of consciousness, the fact you also get a truly stunning voice packing opiate qualities adds to the feeling of escaping into a fantasy. It's not all buttercups and rainbows, mind. And nor should it be. This, after all, is Lay, the guitarist from scuzz-loving LA garage punk quartet Feels, not to mention a solo artist whose last release arrived via a label someone set up especially for her. Those looking for grit will find themselves coming up short, as efforts like "November" prove, this one's vulnerable, thoughtful, heartfelt and comes with more than a wistful longing.
Review: By the time you reach the muffled, eccentric opening bars of "Tenderness", just past halfway on "Anak Ko", Jay Som's remit is clear. The Los Angeles singer-songwriter has left her shoes, or rather shoegaze, behind. This time she's walking barefoot through a lo-fi musical tapestry, baring soles and heartbreak while musing on the importance of self-value. Highlights are plentiful throughout, from the head-noddingly agreeable "Nighttime Drive" to the jerking, grunge-y "Peace Out", it's equal parts gorgeous and effortlessly- not to mention breathily- cool, sexy and surprising. Perhaps what's most reassuring, though, is that there's every chance this could all come across as affected and a little too self-aware. Nothing could be further from the truth from what we can hear- an honest work representing the next step in the evolution of a truly exciting American indie talent.