Blackbird (Joaquin edits & Overdubs bonus beats Organ dub) (8:16)
Rebel Nina (1:24)
Review: Here's a special club 12" for serious heads dealing in a set of mixes of "Blackbird". You have to come correct when you dare step to Nina Simone, but you know full well the cast of characters assembled on this 12" can be trusted with the high priestess of soul. Timmy Regisford is up first, bringing some intense organ lines and Lately bass into the mix with a perfect balance between jubilant expression and tension. Joe Claussell then steps up with two different edit and overdub versions, where the organs get poured on more liberally and the whole jam boils over. As a wonderful bonus element, you get a powerful acapella monologue from Nina Simone to close out the B side.
Review: This first album proper from Polish composer/violinist Olga Wojciechowska was originally released on CD only by Time Released Sound, and has been out of print for some years. We are very pleased to be bringing you this long overdue vinyl re-press, in an edition of only 200 copies, each of which comes in a beautiful 24pt heavyweight jacket, with translucent 180gm disc.
Maps and Mazes is a stunning collection of 10 pieces that were originally written for various international theater and dance productions, and their overall feel reflects this performative nature. These electronically treated, modern-classical beauties are somewhat dark and moody at times, and with their elegiac violin and haunting horns are both elegant and absorbing, and the ultimately lingering effect is one of series of spine tingling, late night serenades.
Review: Kraftwerk's Ralf Hutter has more or less disowned the krautrock-inspired music he and the late Florian Schneider recorded pre "Autobahn". From that album (1974) onwards, they became the electronic futurists we know and love today; before that, they swum in more organic musical pastures, mixing rudimentary synthesizer and other electronic instruments with guitars, drums, flutes and electric organ. It's this sound that's captured on "Soest Live", a rare recording captured for WDR-TV in 1970. Accompanied by drummer Klaus Dinger, Hutter and Schneider offered up a mixture of arty, proto-ambient experimentalism, and surprisingly funky, groove-based krautrock epics that combine prototype Kraftwerk grooves with the organic sounds of flute, violin and organ.
Review: It's easy to forget, or take for granted, how consistently impressive and solid Pixies were during the late-1980s and early-90s. Thankfully here's a 30th anniversary deluxe edition of 'Bossanova' to bring memories flooding back, a record that stands up with their finest but gets less airplay, playlist love and written references today compared with the likes of 'Surfa Rosa' and 'Doolittle'. Granted, this came after those seminal moments in alt-rock, noise pop and garage punk, so its track list is less sonically arresting. By now we knew to expect shrill, anthemic explosions of riff 'All Over The World' juxtaposes with low-slung, nonchalant grooves; 'Hang Wire' and 'Rock Music''s air of borderline-heavy metal, and the grunginess of 'Stormy Weather'. But that doesn't detract from the fact every song here is a prime example of why this band are so feted.
O Dever De Fazer Propaganda Deste Conhecimento (5:52)
Guine Bissau Mocambique E Angola Racional (6:08)
Imunizacao Racional (Que Beleza) (3:30)
Review: From the early 1970s, Tim Maia released a string of superb albums that cemented his reputation as Brazilian music's most soulful artist - a guitarist and singer who created thrilling new musical hybrids that owed as much to U.S funk and soul as samba, bossa-nova and MPB. 1975's "Racional Volume 2", a hard-to-find set that's finally been reissued, is one of the best of Maia's key early albums. Rhythmically, the majority of the tracks feature typically shuffling South American rhythms, but the instrumentation and vocals above are far closer in tone to the sunnier, more horn-heavy end of the soul and funk spectrum (with some sweeping orchestration thrown in to add a touch of MPB class). It's a brilliant blend that guarantees good times from start to finish.
Review: A Black Man's Soul is an instrumental album by Ike Turner & the Kings of Rhythm from 1969. Turner wrote the songs with a host of other musicians and it showed off a side to him that hadn't been heard before. It was packed with traditional and simple funk that was as raw and lo-fi as you like, and one of the bigger tracks from it was "Getting Nasty" which has been synced to a number of films and adverts over the years. It's an authentic cut that bristles with gauzy textures and realness. On the flip, "Getting Nasty" (Conomark & Hong Kong edit) is more playful and funky.
Persian - "Morning Sun" (feat Hannah Small) (5:02)
Seekers International - "FurdaMurda" (4:31)
EBE - "Thinking" (6:13)
Gideon Jackson - "Taj-Mahal" (7:00)
Perpetual - "Awakenings" (6:46)
Mark Seven - "Crank" (5:23)
Paco Pack - "Slap That Bass" (3:05)
Cari Lekebusch - "Output 2" (7:33)
Pauline Anna Strom - "In Flight Suspension" (7:47)
Review: Sadly, there was no Love International festival this year, but the team behind it have given us the next best thing: a new volume in their superb "The Sound of Love International" compilation series from friend-of-the-family and beach stage mainstay Shanti Celeste. After opening with a typically spacey and dreamy new collaboration with her friend Saoirse - the intergalactic techno haziness of "Solid Mass", the Peach Discs co-founder treats us to a heady mixture of chunky, sunrise-ready breaks (Persian), drowsy ambient dub (Seekers International), deep space house and techno (EBE, Gideon Jackson, Carl Lekebusch), Barbarella's-ready peak-time fare (Perpetual, Paco Pack), angular late night dancefloor sleaze (Mark Seven) and weightless ambient bliss (Pauline Anna Stom).
Review: On his previous EPs and singles for the likes of Natural Sciences and Emotsiya, Vaseline Sunny Seppa AKA Sansibar has proved adept at delivering otherworldly, off-kilter electro that pairs icy melodies with warm chords, angular acid lines and beats that pop and crackle with giddy dancefloor intensity. "Targeted Individuals", his debut album, expands on this, in part by wrapping his futurist visions in emotive chord sequences, melancholic motifs and occasional bouts of paranoid intensity. It's a blueprint that guarantees far-sighted and ear-catching thrills, with the album's brazen club cuts - see the foreboding hustle of "My Mind" and deliciously Kraftwerkian "Body Rock" - being outnumbered by deeper, more contemplative compositions. Impressive.
Review: Dana Ruh's third album, a vinyl-only affair stretched across three slabs of wax, is undoubtedly her most expansive and ambitious set to date. Yet while musically eclectic - compare and contrast the spaced-out ambient style minimalist electronica of "Revertigo", the jazz-flecked tech-house hypnotism of "Mr Bang", the bustling breakbeat sweetness of "Gran" and 15-minute fusion of two-step and St Germain style jazz-tronica warmth of fine closing cut "Cross My Mind" - the whole thing hangs together impressively thanks to the German producer's extensive use of dreamy pads, glassy-eyed instrumentation, and the kind of yearning melodies that were once the preserve of turn-of-the-'90s Italian deep house producers. It's a smart and addictive combination that makes for hugely enjoyable listening.
Review: This is the first time ever you can own The Beasties' entire set, as performed at the Open Air Festival in St Gallen, on vinyl. This, then, also marks the first live release of this period from the band's long and illustrious career, and one of the first to feature the legendary Mix Master Mike on stage with the rest of the crew. He takes care of the intro and then its straight into hard bars and crashing hits, blistering drum rhythms and mad scratching. This is an essential cop for any and all Beastie Boys fans.
Review: Sebastian Mullaert is a real master of depth and atmosphere. He has been for many years and his WaWuWe project is some of his deepest stuff. Here he offers serene techno for late night motorway driving, underwater dub to get utterly lost in and spacious grooves that journey on the most deft and subtle of synths. This is meditative, heady music for thoughtful moments of escapism. The package is jut as special as the music here - it is a double, black, 180 gram 12" sheathed inside a custom cut and full colour printed hansaboard sleeve.
Review: It's been a while since the last solo missive from Finland's premier dubstep producer - three years in fact - so this expansive double-pack on Innamind Recordings is undoubtedly well overdue. He begins via the skittish beats, deep sub-bass and expansive, deep space electronics of "Flo", before bouncing between the pummelling analogue bass and trippy layered vocal samples of "Trippin" and the deeper, echo and reverb-laden deep dubstep shuffle of "Float". Over on record two, "Swamp Dub" is a quietly positive chunk of liquid dubstep warmth; "Tarrot" is a slow, steady and insanely weighty chunk of future dub; and "Morning Glory Dub" is one of the finest chunks of ambient dub we've heard in 2020. Impressive stuff!
Review: Russian has long been a world unto its own when it comes to electronic music. Often the sounds reflect what we think we know about the vast country and that is the case here on a blistering new 2 x 12" from Buttechno. "Xsaw" is a dense blizzard of white noise and buzz saw synths that gets you on edge. "The Big R" is fun of suspense and paranoia and "Sirenius" is mysterious synth melodies with arresting blasts of dystopian noise. There are plenty of other haunting and unsettling soundtracks, art noise sketches and bleak moments of musical cinema that are brilliantly beguiling.
Dawn (feat Totally Enormous Extinct Dinosaurs) (7:22)
Review: Named after the titular character in the Nicolas Winding-Refn movie, Bronson is the new project of Grammy-nominated, Seattle-based duo Odesza with masked Sydneysider Golden Features. Story has it that they first met at a music festival in Australia and formed an instant connection. Years passed by where they collaborated online, until their next meeting in-person where they found a space in a rural area, engaging in open-end jam sessions in an isolated and timeless space. The results appear on their self-titled debut LP for UK label Ninja Tune, which sees the trio 'reflect on their respective needs to challenge personal struggles, both internal and external.'
Review: How could we not recommend Jason Molina? Seven years after his tragic death at the tender age of 39, his work is more essential than ever - a troubled but ridiculously talented acoustic troubadour who genuinely, honestly gets it. Work that's just as likely to inspire and reassure as it is to break hearts wide open, a back catalogue playing out like the memoirs of human experience. Thankfully, that back catalogue is massive, with a capital M. We're talking about a guy who had enough gems piled up to compile an entire box set of original material in 2007, which they say was just a fraction of his stash at that time. 'Eight Gates' takes nine previously unreleased and unheard songs recorded in 2008, while living in London, and it feels like an old friend has arrived for a long-overdue catchup. Familiar, new, and just as precious as ever.
Review: Toulouse Low Trax has always skirted on the fringes of wider recognition compared to some of his Salon Des Amateurs counterparts (think Lena Wilikens, Wolf Muller and Vladimir Ivkovic), but his legacy to date plots a fascinating course through underground and experimental electronic music with a kosmische bent. This 2012 album on Karaoke Kalk has been highly prized since its initial run first sold out, and it's great to see it being made available again as more people get hip to the incredible body of work behind this maverick auteur. The mood across Jeidem Fall is consistently moody and provocative, capturing the essence of Muslimgauze but replacing the explicit ethnic motifs with a murky abstraction of the Fourth World aesthetic, all tumbling percussion and un-placeable instrumental motifs.
Review: Legendary Norwegian eight-piece Jaga Jazzist are back with a new album that takes a plunge into myriad musical worlds. Post-rock, jazz and psychedelia influences all abound across the four lengthy pieces that make up the Brainfeeder released LP. It was recorded in just two weeks of focussed sessions with plenty of impromptu jams and never too much over-analysis, but plenty of experimentation. It is the band's first self-produced album and overflows with musical stories form the off with synth heavy pieces and afro tinged drum rhythms. Bandleader Lars says: "I felt that this album is a small symphony, each part containing its own rooms to explore."
Review: Finder Keepers is probably the most appropriately-named label to carry this collection of rare recordings by one of the foremost electronically-minded composers of the late-20th and early-21st centuries. Dating back to 1973, Ciani's 'Music For Denali' is a stunning example of sound design and, in album format, a series of arrangements that actually feel like a score looking for the movie. Or, more accurately, documentary. At the time the music was written, the aficionado was just starting out in the field of film composing via a non-fiction project about the first ever skier's descent down the tallest mountain in Alaska. As you might have guessed, the peak is Denali, and the soundtrack here entirely befitting for that scale. Combining her work as pioneering synthesist and revered pianist, it's an emotionally rousing story told through riveting movements.
Review: We welcome back extreme noise terror Cosmo Rhythmatic, the experimental offshoot from the Berlin-based Italians at Repitch. British luminary Shackleton is no stranger to the imprint, having appeared previously as as part of the trio Tunes Of Negation, but his latest offering entitled 'Primal Forms' sees him team up with Polish jazz clarinetist and co-curator of Tak Picture - Waclaw Zimpel. From droney exoticism morphing into hypnotic chiptune music on the 17 minute long title track, or the experimental folk of "Primal Drones" to the unholy, yet, not altogether unpleasant hybrid of bass, free jazz and classical minimalism on the final cut "Ruined Future".
Review: Whenever you see the name, read about or hear anything by Washed Out you can't help feel a prang of nostalgia and, in 2020 at least, a twinge of envy. Known to some as Ernest Greene, towards the end of the 00s he burst, or rather eased himself onto a chillwave scene then in rude health. A time when things had found a lackadaisical groove, before the last decade's cynical affectations set in. He's not veered from those windswept beaches since, and this latest effort has moments that take us closer to the whispy almost-house music of an oceanside cocktail bar than ever before (namely 'Time To Walk Away', one of three tracks here unveiled before the album arrived). It's blissed out stuff but it's also pretty poignant, with lyrical themes often centring on taking stock and working out what to do with the hand you've been left with.
20 solo piano arrangements celebrating ten years of Erased tapes
Notes: A collection of twenty newly-arranged scores published for the first time and presented alongside bespoke programme notes from Erased Tapes founder Robert Raths.
From olafur Arnalds' 0040 through to recent songs from ambient music duo A Winged Victory for the Sullen, Solo Piano offers an engaging chronological survey of the label's first ten years. Feat: Olafur Arnalds, A Winged Victory For The Sullen, Lubomyr Melnyk and more.
Review: Moscoman is a musical world unto himself. He's turned out a riveting and wide ranging mix of killer dance floor singles in the last few year, but always with a sense of oddness and outside influence. Part fo that comes from his Israeli heritage, part from his back ground in rock, and part from a desire to aways evolve. His second full length is another marked shift in sound, with synth pop looming large over many tracks. A well curated selection of guests helps add vocal layers to an album that is, as the artist himself says, "happy sad" as it goes from breezy ditties to intoxicating percussion tracks via psyched out Middle Eastern disco.
Review: A record entitled 'Insane 80s Tracks From The Insane Label' was never going to be boring. Talk about living up to the name, Insane Music means an experimental cassette label from Belgium, managed by Alain Neffe and founded in 1981. He makes music as I Scream, and to put that into wider context his two tracks on this vinyl excursion are harsh distortions with distant bumbling rhythms, and relentless rolls of acid warble and snares the likes of which techno would kill for. That's far from that, though. Pseudo Code present the most accessible stuff here, and that comes in the form of a twisted child of post punk and garage synth pop, veering from the wonderfully bouncy and danceable 'Waiting For Zorro', to the runaway anxiety of 'Jesus!'. Bene Gesserit goes for what David Lynch might do with disco and garage rock, while Human Flesh present a staggeringly effective cacophony of brass refrains.
Loleatta Holloway - "The Greatest Performance Of My Life"
The Salsoul Orchestra - "How High"
Instant Funk - "Crying"
Bunny Sigler - "By The Way You Dance (I Knew It Was You)"
Inner Life - "Make It Last Forever"
Jimmy Castor - "It's Just Begun"
Logg - "I Know You Will" (remix version)
Aurra - "When I Come Home"
Instant Funk - "Salp Slap Lickedy Lap"
Instant Funk - "Bodyshine"
Steve Arrington - "Summertime Lovin'"
Skyy - "Skyyzoo"
Instant Funk - "Everybody"
Jimmy Castor - "(Tellin' On) The Devil"
Inner Life - "Ain't No Mountain High Enough" (The Garage version)
Review: While Larry Levan tended to rely on engineer Bob Blank to complete studio jobs, the reworks credited to him were always superb - as this second volume of his "Greatest Remixes" for Salsoul Records defiantly proves. As you'd expect, the two disc-set does include a number of must-have rubs of well-known NYC disco and boogie anthems (think Skyy's "First Time Around", Instant Funk's "I Got My Mind Made Up" and Logg's "I Know You Will"), the vast majority of the remixes included here are far less known. As a result, the collection provides a great opportunity to get your hands on such under-appreciated gems as Levan's sparkling takes on Jimmy Castor Bunch's "It's Just Begun", Aurra's percussive boogie gem "When I Come Home" and Sparkle's soaring disco smasher "Handsome Man".
Dawn (feat Totally Enormous Extinct Dinosaurs) (7:17)
Review: While there are plenty of people rushing to terms like 'tech house' when it comes to Bronson, we're partial to find more fitting descriptions. The ODESZA and Golden Features' producer might be able to deliver something like 'Heart Attack', combining meaty kick drums, lunging low end groove and mournful duet of pitched down and au natural vocals the likes of which we're all familiar with. But there's a lot more than that happening on this debut album. 'Tense' would be a crunching broken techno warehouse job, if it were a little faster, nevertheless its uncompromising beats and gradually building hoovers bring intensity with ease. 'Know Me' takes us somewhere close to future garage, with 'Vaults' picking up from that lead but adding a progressive edge to create a very different, grander atmosphere. A vibe that 'Dawn' masterfully recreates to stadium filling proportions to bring the journey to its conclusion.