Alice Schwarzer, Is It True That You're A Person Of Great Tenacity? (2:10)
John Cage, I've Been Told To Ask You The Following Question: Where Are You Going? (2:58)
Hubert Fichte, Your Journey Through Life Has Been Full Of Twists & Turns. Please Tell Us When & Where This Journey Began! (2:18)
Slavoj Zizek, What Signs Were There Of The Imminent Dissolution Of Yugoslavia? (1:52)
Joseph Beuys, It Was You Who Said: Democracy Is So Big One Can Only Sing About It: You Recently Made Your Debut As A Singer: Which Democracy Are You Singing About? (3:05)
Lady Gaga, You Once Said In An Interview That You Write Music For The Fashion Industry: Is Fashion As Important To You As Music? (2:13)
Ernst Jandl, What Are Your Plans For Language: Revolution, Reform, Revolt? (1:57)
Karlheinz Stockhausen, Which Difficulties Are Involved In Conserving Electronic Music On Magnetic Tape? (2:23)
Marcel Duchamp, Would You Like Or Expect People To Spin The Wheel On Your Kinetic Object Roue De Bicyclette? (2:19)
Friederike Mayrocker, When You Write, Do You Feel Like The Creator Of The Work Or More Like A Medium? (3:12)
Yoko Ono, You Were Born Into A Rich, Aristocratic Family In Tokyo. Do You See That In Yourself? (2:08)
Max Ernst, This Is The First Time In Twenty-Five Years That You've Returned To Your Old Home Town, To The Cathedral In Cologne, Right? (2:02)
Review: Over the years, Jan Jelinek has been responsible for some fantastically inventive experimental records. His latest is a concept album inspired by a radio play he wrote for German radio, in which every collage-style track was crafted from an interview with a different public figure (these include Yoko Ono, Marcel Duchamp, John Cage and Lady Gaga). These vocal excerpts, which include non-verbal sounds as well as speech, were also used to control a synthesizer. While the nuts and bolts are pretty far-sighted and next level, the results are actually rather enjoyable and easy to listen to. For every dystopian, mind-altering cut-up track, there are four or five others that veer closer to left-of-centre ambient bliss. It's an intriguing and hugely entertaining collection, all told.
Review: Eight years after Teufelswerk, an album in which Hell called up giants like Bryan Ferry and P Diddy for creative adventures, International Deejay Gigolo Hell presents his fifth album Zukunftmusik. A much more personal affair, written and created with Peter Kruder, the album takes a deep dive into Hell's psyche. His inspirations, fears and fascinations all laid bare as we glide and slide from the poignant ballad of "Anywhere Anytime" to sinewy, sinister 6am acid ("Guede") via orchestrated cinematic synthesis ("K House" and "Inferno") to strident slices of evocative and highly narrative house music such as "Wild At Art". Hewn together with shades of experimentation and timeless pop science, Hell's created something incredibly special here.
Review: Rather unexpectedly, the third CVX release, to date, comes through on Berceuse Heroique, an imprint which seems to be following and replicating just about any genre or sub-culture form the past, making it a perfect example of post-post-modernism in action. Zibaldone III of CVX, a serious previously restricted to the Laura Lies In label, is undoubtedly a wild and wicked concoction of nebulous sonics that are all driven by a toxic, merciless percussion which spews from all angles with a certain mechanical fashion. It's an honourable third edition of the series, and we hope this marks a beginning of a new dawn for CVX. Wicked style.
Review: Mohammad Reza Mortazavi is the perfect companion to Burnt Friedman's steely, minimalistic shades of broken dub techno. The Iranian percussionist comes as a surprise addition to the Nonplace catalogue, but he certainly makes for an even more cerebral drumming experience than the already off-kilter world of Friedman's tunes. Both the A-side's mixes of "Yek" are just on the right side of dark, combining Eastern influences together with colder, more industrial executions from the West. On the B-side, we have a similarly frenetic experience, where metallic drums collide with deep baselines and polyrhythmic flows spanning the full circle. Well, this might just be our favourite Nonplace yet!
Review: Ever since their first white labels started to appear a few years back, we've been big, bigs fans of Russia's Gost Zvuk label. That's because, aside from all the gnarly artwork, these guys are doing things on their own agenda: the sounds on these records are recognisable and yet different. Different in their approach, their style, and their message. On this Pavel 'BUTTECHNO' Milyakov debut, a record that sounds like it's been made by a veteran, we here shards of techno, but the genre is only used as a means of expression, one means to an end in terms of tying these alien sonics together under one groove. We won't describe this music in detail because it simply must be heard to be understood. Album of the week from us, don't miss it. Oh, and check the rest of the label out, it's all solid gear.
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: While the name Tomorrow The Rain Will Fall Upwards may remind you of a particular Vietnam War scene in Forest Gump, don't let that put you off, the sounds here are double the pop psychedelic rock of the film. Rumoured to involve HTRK's Jonnine Standish, Brazilian singer Lucas Santanna and These Immortal Souls' Genevieve McGuckin, Wreck His Days marks the project's second release, presented again by Kiran Sande's Blackest Ever Black. A dark presence inhabits all seven tracks of this LP that should appeal to fans of Goblin, to Italian Horror and Giallo OSTs with "Reverberasia" fusing metal with ambient Italo doom. As the title suggests "Ghost From The Coast" is swathe of haunting atmospheres and coarse textures, only with an underlying bassline funk, while an eight-minute "...And I Tried So Hard" provides some sparkling respite from the forlorn sounds of everything preceding it. "I Beat As I Sleep As I Dream" then penetrates Kosmische territory, with acoustic, Latin guitars easing the tension of a devilish "Ay Carmela". Without a doubt one of the best collections of music BEB will release in 2016.
Review: Since Demdike Stare released their last album in 2012, the world seems to have got altogether darker and more shocking. It certainly seems a fitting time for the Lancastrian duo to return with their sixth full length. Wonderland naturally boasts a number of typically clandestine, pagan outings - see the dense, industrial influenced "Curzon", fearlessly distorted "Hardnoise" and mutant jungle fuzziness of "Sourcer" - but also moments of frenzied funk and quiet contemplation. In the latter category you'll find sublime album closer "Overstaying", where shimmering synth melodies and ghostly chords rub shoulders with elastic bass and skittish drum machine percussion. However dark and bleak things may seem, there's always hope, even in the intensely unsettling world of Demdike Stare.
Review: A lucid, dynamic, atmospheric trip through consciousness, incorporating an incredible range of texture, tone, and three-dimensional space. This is a glimpse into the most emotive, most personal of Dead Fader's extensive work. There are delicate moments of introspection, furtive agitation, and exuberance, all tightly interwoven into a singular, enthralling whole.
Review: Killer new LP length project from the man that is Gifted & Blessed! Although Gabriel Reyes-Whittaker has been producing his soul-filled machine music under a number of aliases since 2004, most notably as Gifted & Blessed, the past year has seen him break out with releases for high profile labels like All City, Eglo and Wild Oats, with his release for the latter providing one of the most memorable bespoke vinyl releases of recent times. However, its his own eponymous label that has been the primary home for most of the producer's recent work, with the 3 Aspects of One EP providing the most recent example. One of this year's most appropriately named LPs, Within These Machines is by no means the LA resident' s first album but it does see him expand his style somewhat with typically excellent results. There are more overtly house and techno moments here for example, though tracks like the gurgling "Tesla's Notebook" and restless "Rain Dance" are as experimentally minded as ever.
Review: Is there a more forward-thinking and proudly distinctive outfit in contemporary electronic music than Modeselektor? Certainly, the German duo's latest album - their first studio set for eight years - suggests that they have few competitors for this crown. Underground but accessible, diverse but consistent thanks to the pair's fuzzy-but-polished production, the set sees them showcase a range of cuts that expertly meld club-friendly beats and sounds - think grime, techno, post-electro, acid house and the punchy-but-rubbery rhythms of UK funky - with skewed pop hooks, oddball vocals, hazy electronics and a big dollop of experimental intent. As you'd expect, the results are little less than superb.
Review: London based producer Jules Venturini is up next for Whities, following up great releases by Avalon Emerson and Lanark Artefax. On the label's 14th edition, Venturini follows up some sludgy lo-fi techno/house derivatives on Polish label Brutaz with some more similarly rusty and dust covered aesthetics. Beginning with the 12 minute epic "Flying Kites" which channels early '90s British bleep IDM, until that fast hitting groove hits at just the right time towards the end. Lush ambient piece "Keep Me Close" works as an effective intermission of sorts on this grainy and saturated dream state captured to VHS. Finally, Venturini displays a more aggressive side as seen on his previous release with the gnarly and slow burning industrial electronics of "Trace Of Smoke".
Review: Whatever Makes You Feel Safe is a collaboration between Canadian producer and singer Marie Davidson and Berlin based Ukrainian sound designer Invisible Church. They met in Montreal during Red Bull Music Academy festival and shared the idea of exploring the concept of feeling safe both on a personal level and as a part of society. Quite different from what you'd usually associate with Davidson but still worthy of your attention all the same. Beginning on the A side with "Collage" featuring some chilling drone experiments over textural sound design and field recordings which allow Davidson's haunting vocals to carry the track further into the void. Sounds like a cross between OAKE and Lustmord. Next up "Never Release The Tension" delves further into pitch black territory on this contorted downbeat industrial thriller. Finally on the flip, we've got an epic 10 minutes of haunting esoterica in the form of "Ten Years" and features Theo Parrish on cymbals! The label recommends it as for fans the late Mika Vainio, Black Rain, CTI, and the Bladerunner OST. Pretty on point, if we do say so ourselves!
Review: Alex Barnett and Faith Coloccia return to the dark, militant and disorderly outlet that is Blackest Ever Black for a second LP of twisted ambient-filtered noise infusions. Much like their previous album, Weld is inherently abstract but still manages to tell a story, taking the listener on a journey by using primitive forms of sound design. There are certainly more concrete pieces within, such as the kick-powered "Dreamsnake" or the hazy stoner jam that is "AM Horizon", but the release is largely freeform and loosely held together by fuzzy shreds of electronic fuzz. "Ash Grove" is a favourite of ours, its circling toms giving the track a sporadic backbone. It's a beaut, as per usual.
Fantastic Twins - "Frozen Dreams In Candy Paradise" (5:40)
Sue Zuki - "Didufindher" (2:12)
Maral - "Ey Nazanin" (3:29)
CAR - "Frau" (5:21)
Penelope Trappes - "Pause" (3:49)
Marika Underspreche - "Bitter Ends" (3:13)
Slime - "PM" (6:07)
Odete - "Folklore Collage" (3:49)
Cucina Povera - "Kalmankalpea" (6:13)
Zoe McPherson - "Thumb Governance" (5:35)
Review: After marking International Women's Day 2018 with a self-released charity compilation featuring tracks from female artists, producers and musicians, NTS Radio DJ Kristina McCormick has teamed up with JD Twitch's Optimo Music to put out a follow-up. As with its predecessor, all profits from sales of "Weaponise Your Sound" will go to equitable housing charity Focus E15. Happily, highlights are plentiful throughout, from the bubbly cold wave hypnotism of Fantastic Twins' "Frozen Dreams In Candy Paradise" and the lo-fi Middle Eastern electro-exoticism of Maral's "Ey Nazanin", to the ghostly ambient of Penelope Trappes, the horror chug of Marika Underspreche and the music concrete madness of Odete's "Folklore Collage".