Review: Woof! Hyperdub bring together two of the most recognisable and enigmatic artists of recent times on this 10", as Zomby and Burial square down ahead of the former's new album for the label. Zomby's Ultra LP is undoubtedly one of this year's most anticipated albums and "Sweetz" suggests it may be a very moody affair indeed. Whilst rooted in UK dance, Zomby and Burial do look elsewhere for inspiration too. Just under seven minutes long, "Sweetz" veers through various sub-heavy soundscapes with intermittent rhythmic patters and a distinctive looped vocal sample whose pitch changes with dramatic effect.
Review: George Btp has many strings to his bow, from his work as Dan Piu to his Allstar Motomusic aliases and his deepArtSounds label. His Zarenzeit band with Robert P has been quietly cruising since the mid 90s, although first surfaced on deepArtSounds in 2016 with the Black Inside album. Now the project returns with a limited 7" release for fellow deep house traveler Dubbyman's Deep Explorer label, and the results are as seductive and subliminal as you would expect. "Before Midnight" fuses swirling galaxies of high end synth work with a snappy electro funk backbeat, which Dubbyman reworks on the flip into one of his trademark deeper than deep dancefloor cuts.
Review: Exos' label X/OZ continues to grow as a distinct voice in the world of minimal techno, this time around inviting Russian producer Nikita Zabelin to explore his sound with a sizable EP of finely crafted techno and thought-provoking ambience. "Confusion" is a consummate slice of hypnotic techno crackling with heavily processed energy, while "Pluton" drifts into rich beatless territory. There's more experimental fare afoot with the fractured tumbles of "Curtains", but "Trans Siberian Express" is on hand to lock things back into a sturdy rhythmic framework. Exos also takes the time to remix "Brooklyn Train" into a noirish dub techno workout.
Review: When he originally released his second solo album, Tomorrow's Modern Boxes, in 2014, Thom Yorke only made it available as a download via BitTorrent. The paid-for package proved popular, with over a million listeners scrambling to download it in the first week of release. Here it finally gets a physical release (a limited Japanese pressing in 2015 not withstanding). The album is naturally typical of much of Yorke's solo work, blending his fragile and dinstinctive vocals with heart-aching piano motifs, crunchy electronics beats and all manner of weird and wonderful sonic textures. Early reviews stated that it was Yorke's most challenging work to date, but one that just gets better with every listen. That remains a perfect summary of an alluring and deliciously odd collection of tracks.
Bournemouth Symphony Orchestra - "Venus: The Bringer Of Peace"
John Phillips - "Boys From The South"
Stomu Yamashta - "33 1/3"
John Phillips - "Rhumba Boogie"
The Kingston Trio - "Try To Remember"
Stomu Yamashta - "Mandala"
John Phillips - "America"
Stomu Yamashta - "Wind Words"
John Phillips - "Jazz"
Stomu Yamashta - "One Way"
John Phillips - "Space Capsule"
John Phillips - "Bluegrass Breakdown"
John Phillips - "Desert Shack"
Stomu Yamashta - "Memory Of Hiroshima"
John Phillips - "Window"
John Phillips - "Alberto"
Bournemouth Symphony Orchestra - "Mars: The Bringer Of War (Excerpt)"
John Phillips - "Liar, Liar"
John Phillips - "Hello Mary Lou"
Robert Farnon - "Silent Night"
Genevieve Waite - "Love Is Coming Back"
John Phillips - "The Man Who Fell To Earth"
Review: Due to legal wrangles, RCA Records declined to release a soundtrack album when The Man Who Fell To Earth hit cinemas in 1976. The decision may have had something to do with the lack of material from the movie's undoubted star attraction, David Bowie. Following the legendary musician's passing, Universal has decided to make the music - a mixture of original compositions by John Phillips, and Japanese percussionist-composer Stomu Yamash'ta, plus featured songs and instrumentals - available for the first time. Yamash'ta's contributions, which tend towards the atmospheric, alien and otherworldly, are particularly impressive, while Phillips' unique riffs on American rock, funk and soul have their moments.
Review: The Poverty Is Violence stable are firmly established now as an essential conductor for rabid, rowdy and downright rasping mechanics from subterranean operators of all shapes and sizes. Anonymous but reportedly veteran Dutch producer XXX previously appeared on the label in 2016 with the wild Noorder Scannen 12", and now returns with a bludgeoning new release. There's a consistent metal grind to the percussion on Westzaan Doelen, while the synth tones in between tend towards the jagged and abrasive, there's space and poise in the arrangement to lift this out of knuckleheaded noise. "Don't Go After Her" reverberates with clamouring intensity while the beefy chassis of "Just The Two Of You" shimmers under an acidic glaze - this is full-tilt deviant music executed with finesse to match the grime.
Review: There's a certain mysticism that hovers around Piramide Registrazioni, with its occult symbolism, mysterious artists and fuzzy, vintage sound. Label protagonist Xinner has been previously spotted alongside S. Moreira on Phonica Records, but here is sharing valuable wax space on Piramide 2 with Autre and Hawaiian Chips. Autre's version of old-skool deep house has an interesting urgency about it, and Hawaiian Chips turns out shimmering electro of the highest order. It's Xinner's tracks that stand out the most though, with synths straining under the weight of their own wobblyness and beats that punch out in clouds of reverb fog.
Review: Born on the French Island of Martinique, Louis Xavier later settled in France where he discovered the freedom of jazz, and an idea to mix his influences into a global melting pot of sound. He formed his band (Synchro Rhythmic Eclectic Language) in Paris in the early '70s, making music that was both spiritual and eclectic for its time. Both tracks are jazz in essence but with instrumental funky rhythms infused with intricate percussion and electric keys.
Review: Valcrond Video presents the next work by sound and image artist Luke Wyatt, Songs From Bad Kid School.
On a high desert plain, inside a cinder block compound, a prank squad is incarcerated. Between fiddling with ninja stars and leafing through back issues of Fangoria, they find time to scrape out the soundtrack of their escape.
On the first track, heatsick guitars and steel wool beats suggest a landscape strewn with abandoned car carcasses, old Camaros left for dead in the sun, used for shotgun practice.
The B-side leads off with the beat-less, articulated sprawl of "Saline Flats". Here is the story of a desert search for water: figures warping mirage-like on the horizon as they make a confused journey over dunes, ending with a cathartic drone that suggests the mirages resolving into a real oasis. Though it is just as likely that the bad kids have expired from thirst, and ascended to the sublime.
Henry Wu - "Substance" (IG Culture & Alex Phountzi remix) (4:36)
Son Of Scientist - "Spartan Riddim" (4:52)
NameBrandSound & Sonar's Ghost - "Can't Hold It" (4:43)
Alex Phountzi - "2nd Intention" (feat IG Culture & Henry Wu) (4:39)
IG Culture & Seiji - "Gangz" (4:26)
Review: Bruk bastions, the CoOp collective were one of the brightest, most exciting musical movements in the early to mid 2000s with their barbed, broken soul take on bass music emanating from Plastic People playing a heavy role in the forms of contemporary house music, dubstep and all things in between. Freshly reformed since a Boiler Room comeback in 2015 and loaded with new affiliates, the ensemble, First Word proudly present their first collective EP. Ranging from the jittering soundclash bashment of "Spartan Riddim" to the sensual Bias-like harp heaven of "Can't Hold It" via the technoid stutters of "2nd Intention", this marks the start of a very exciting new chapter for the CoOp crew.