Review: Now, this is a label we absolutely adore! Germay's Disk imprint, a sub-label of the wider Diskant brand, headed by the needlessly fascinating Durian Brothers, returns to our shelves with newcomer Sabla. If these guys have gone out to recruit, you know that you're in for something special, and the opening "Danzaguida" is nothing short of breathtaking thanks to an improbable set of sounds guided by what seems to feel like a reversed beat pattern. "Fire/Wire" is an ominous glow of subdued harmonies terrifying didgeridoo bass, while "W" shimmers its cold, penetrative techno hook with the upmost off-kilterism, and "Tohc" goes all molecular with the help of some supremely wacky sonics. Nutty and recommended, as always.
Review: Shielding's Innerlig is viscous, densely detailed, trippy music. Dripping with texture, these are supple tunes that generously expand to fill whatever space they're in, loops stretching towards the lilac virtual horizon. Constantly mutating rhythms, heavily atmospheric grooves. RIYL Harmonious Thelonious, Jan Jelinek, Theo Parrish.
Review: For her latest immersive and impressive work, composer and producer Anna Meredith has joined forces with the Scottish Ensemble - a strings-only orchestra from Glasgow - to create a seamless album inspired by Vivaldi's Four Seasons. In many ways, Anno is a re-telling of the much-loved orchestral piece, with Vivaldi's familiar compositions squeezed between wonderful new pieces by Meredith that combine neo-classical string movements with bubbly electronics, subtle beats and field recordings of various natural phenomena. Interestingly, even the more electronic-minded compositions don't sound out of place amongst Vivaldi's familiar suite, suggesting that Meredith's unique approach to musical fusion is both far-sighted and sympathetic.
Review: The latest artist to delve into Conrad Schnitzler's vast archive of synthesizer sounds and Con-Struct new tracks is Pole, AKA dub-tronica stalwart Stefan Betke. In the liner notes, Betke admits to never warming to Schnitzler's brand of synthesizer experimentalism, despite respecting the German pioneer's vast body of work. Yet despite these misgivings, Betke has produced an impressive set which melds some of Schnitzler's trademark electronics - woozy, evocative, out-there and occasionally hugely challenging - with his own glitch-heavy rhythms and dub techno inspired textures. The result is a collection of finely tuned tracks that effortlessly joins the dots between 1970s electronica, '90s IDM, and Betke's distinctly dub-wise production style.
Review: The new alias of Norwegian producer Tore Gjedrem of Ost & Kjex fame. Here he channels a love of eclectic influences: from blues, funk, disco and post-punk right through to IDM, Norwegian new wave and acid house. He stated that we wished to create a world where all musical ideas are possible and bound together by the worlds and words of Judas - the ultimate sinner reborn as a child of Venus. With contributions by friends in the Oslo scene as hometown legends such as Bugge Wesseltoft, DJ Pal Strangefruit Nyhus, composer Ole-Henrik Moe Sidiki and multi instrumentalist Ivar Snuten Winther.
Review: There's no doubt that Seattle-based Shabazz Palaces are one of the most exciting acts in hip-hop. Sounding a little like A Tribe Called Quest in space, their 2011 debut album Black Up remains one of the most thrilling experimental hip-hop sets of recent years. Lese Majesty, their delayed follow-up, is every bit as good. Laden with spaced-out analogue synths, fuzzy electronic textures, cut-up live drums and masterful MPC work, it sounds like it was beamed down from another dimension, let alone another galaxy. Yet for all the experimentalism, there's a musically richness and harmonic subtlety to their tracks, as ably demonstrated by the string-laden depth of the brilliant "Dawn in Luxor".
Endless Memento/Regression/Wading Through The Underworld (14:23)
The Future Is Hurt/Dirt & Fields (15:43)
Hinter Der Vitrine (14:03)
Our Sharpened Blade/Rid Yourself Of The Parasites/Endless Longing (19:21)
Review: For his latest full-length, post-dubstep innovator turned dystopian soundscape specialist Shackleton has joined forces with British-German singer-songwriter Anika. Her drowsy, chilling tones provide the perfect foil for the producer's alternately paranoid and ethereal musical compositions; stretched-out pagan epics that sit somewhere between the soundtrack for The Wicker Man, the wind-swept ambience of Firecracker's Mac Talla Nan Craeg - compilation, and the experimental sound collages of the Music Concrete movement. It makes for a heady, intoxicating and at times otherworldly listening experience, even if it features numerous pastoral elements. Prepare to be thrilled and scared in equal measure.
Review: It's been four long years since the last full-length from American electronica producer Henry "Shlohmo" Laufer, a particularly epic wait given his early productivity (he famously launched his career with three albums in two years). Dark Red is, happily, an impressive set, with 11 doses of IDM inspired goodness stretched across two slabs of heavyweight wax. There's naturally much to admire, from the evocative, lo-fi fuzziness of "Emerge From Smoke" and picturesque D33J hook-up "Apathy" (a kind of ambient jazz exploration with hints of horror), to the skittish, jungle-influenced madness of "Fading". Best of all, though, is closer "Beams", a full-throttle exercise in the power of breakcore percussion.
Review: Stratis is an electronic duo from Cologne, Germany, formed by Antonios Stratis and Albert Klein in 1981. They took inspiration from the progressive electronic synthscapes of Tangerine Dream & Vangelis and the proto-techno of Chris & Cosey and Yello, as well as jazz and funk. The duo recorded 5 cassette-only albums between 1982 and 1986 - Exotic, New Face, Musica da Ballo, Film Musik, and Raging Beauty - which were released on their own label Creative Tapes (later called Temporary Music), and which were also licensed to Colin Potter's Integrated Circuit Records (ICR) label.
We are pleased to announce the first ever standalone vinyl reissue of their sophomore album "New Face', which was recorded and released in 1983. It consists of eight future-fixated tracks that could have been composed for movies like Blade Runner or Tron. A wide range of minimal electronics are presented, from robotic synth pop to melancholic cold wave to Neue Deutsche Welle electro. The masters for this reissue came from a new transfer made by Colin Potter at ICR in May 2018, and each song has been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in jacket designed by Eloise Leigh using motifs of the cassette artwork on a neon red background, and includes an insert with lyrics and photos.