Staff Picks October 2019

Review: Svreca's Semantica welcomes Wanderwelle and Bandhagens Musikforening for their first collaborative album, and it comes with some observations from Samuel Coccius written in 1566 about unusual sunsets and sunrises known as the "celestial phenomenon over Basel". They have clearly influenced the music here, with its crepuscular ambient techno with yawning pads, widescreen synths and a cinematic feel that pulls you right into the centre of it all. Rhythms come from supple and barely-there drums of "Red Skies", while "Before The Rain" does capture that feeling perfectly with heavenly chords and harmonies. Elsewhere there is darker but just as delicate techno in "Victory Over the Sun" and more besides.

Review: When it comes to dub-fuelled, mind-altering insanity, few are capable of setting the pulse racing quite like German veteran Bernd "Burnt" Friedman. For proof, check this essential new EP. By his standards, it's particularly wild, utilizing psychedelic electronics, exotic and occasionally droning Indian sounds, weighty bass and ambidextrous rhythms that variously doff a camp to grime, dubstep and the polyrhythms of Africa. Our picks are intoxicating and fragrant opener "Broken Royal Shank" - Asian dancehall via Coburg - and the trance-inducing dub techno hypnotism of "Contrarian", though closing cut "Cabin In The Sky" is pretty darn tasty, too.

Review: "In A Landscape" marks a welcome return to action for Sa Pa, a publicity-shy (correction: deliberately anonymous) artist renowned for his mutations of ambient and dub techno on Forum and Giegling. This is his first release of any sort for three years, but it's like he's never been away. Crafting dense, mind-altering soundscapes and hypnotic dancefloor excursions from a combination of field recordings, effects-laden/processed sounds, slipped machine beats, drowsy, deep space electronics and barely audible snippets of spoken word samples. It's pretty far-out in parts, but also very, very good: a superb example of the potential of sound layering and manipulation that never loses its inherent early morning groove.

Review: Four-to-the-floor, let us hear you roar... Fracture's Astrophonica goes into techno overdrive with this crucial collection of 4x4 inspired jams. With cuts from the bossman himself, Lewis James, Addison Groove, Moresounds, Sam Binga and Om Unit (under his Philip D Kick alias) all running rampant at around 160BPM there's a heavy stench of hardcore rolling throughout this unique collection. Highlights include the acid funk frenzy of Addison Groove's "Redeye", the ghettotek badness of Binga & ONHELL's "A Mighty Quest" and the late night 23rd century car chase vibes of Lewis James' "Kit 5000". These are just a handful of examples of the truly unique fusions on offer here. Astrophonica are way ahead of the game.

Review: It's hard not to feel moved by Swans. To quote Wayne's World, it's not just a clever name, but rather a band every bit as graceful yet ferocious, beautiful but strong as the bird borrowed from. Take "Annaline", for example. As the first track-proper of this spellbinding collection it's a stop-you-in-your-tracks masterpiece that could force silence on a stadium despite being softly spoken, subtle and serene. It's a motif the outfit seem focused on for this, their 15th studio album. Even at its loudest, title track "Leaving Meaning" mostly plays out like a deranged sermon in some temple of experimental rock. "Sunfucker", for example, has enough reversed-out refrains to make anyone feel they might be in over their head with forces they can't see, let alone comprehend. "It's Coming It's Real" is a display of dark hypnosis. "The Hanging Garden" paints nervous abstract pictures with psychedelic-leaning guitar hooks and manic vocal cries. Put simply, it's perhaps their tensest, most introverted and spellbinding work to date.

Review: The unstoppable Music From Memory label invites you into another musical dream world, this time in the form of a reissued "lost" art record from Italian Wave duo Alessandro Pizzin and Piergiuseppe Ciranna aka Ruins. This first volume of "Marea/Tide: Sound & Image Research" is taken from music made for art galleries, exhibitions and various multimedia projects back in the 1980s. It is a gorgeous mix of synth and ambient that was lost when only 300 copies were pressed and because of legal disagreements, were later destroyed. All hail Music From Memory for their work on this one.

Review: Given the beat-making and production talents of Bristol boys Pinch and Khan, this hook-up with grime MCs Killa's Army - Killa P, Irah and Long Range - was never going to fail. Even so, "Crossing The Line" is insanely good; a future club anthem in which the three MCs get the hype going over a weighty, fuzz-fuelled beat that sits somewhere between grime, dancehall and dubstep. Killa (sorry) stuff. Pinch and Khan ditch the MCs on B-side workout "Send Out", instead peppering a moody bassline, clandestine aural textures and ricocheting vocal samples with gunshot snares, gut-punching sub tones and panicked electronics.

Review: This Numbers debut by Lanark Artefax is an ode to a waterfall above the Scottish village of New Lanark and comes after his breakout offering on Whities as well as a busy run of live shows that make reference to Stanley Kubrick's 2001: A Space Odyssey. Bass heavy and melodic, with falling keys and glassy pads raining down the face of each track, "Moo Orphaned Drift" has a cosmic air to it while opening cut "Corra Linn" is an IDM drum flurry, but it is closer "Ferthenheap" which makes the most impact; it's an ambient, emotionally devastating neo-classical piano piece of the highest order.

Review: Second time around for Makaya McCraven's superb album "In This Moment", which first appeared on vinyl in 2015 and sold out almost as quickly as it appeared. The good news is that this first vinyl pressing since is even longer than the original, with the three slabs of wax containing all of the tracks featured on 2016's double-CD "deluxe edition". The album still sounds wonderful and has lost none of its distinctive charm. It is based on recordings of 28 separate improvised performances McCraven and his jazz band performed in the same venue over the course of a year, which the American drummer-turned-producer then shaped into a dizzying range of hip-hop style beats tracks. In truth, it's more jazz than hip-hop, but it's the combination of the two styles - as well as the clips of McCraven's incredible live drumming, complete with cacophonous solos - that makes it such a delightful listen.

Review: Having appeared on Cosmic Bridge's agenda-setting "Dark Matter" album in September, Leipzig's Es.tereo quickly follows up with his own persy statement. Four tracks deep, it's his first full label debut: "Ultima's Breath" sets the tone with dark tunnelling bass plucks and skittish breaks flying across the spectrum while "Temple Of Ra" strips things back and ups the trippy factor as he makes the drum chat and chirp to each other. Flip for "Ancestral Path" where the space between the drums is filled with growing, classic rave pads that gradually become the focus, rising and rising on the second drop before "Flying Disc" closes the show with a springy necksnap combo of drum textures from breaks to electro. All those in favour say "Ra".

Review: Where do you start with a new album from Neil Young? One of the great rock artists of the 1970s hasn't stopped since - much to the joy of many and the derision of others - and here presents his staggering 39th studio album. Recorded in the mountains of Colorado, as those who watch the accompanying film will know only too well, in many ways it's his most significant work since "Le Noise", and certainly has the power you'd hope from reunification with backing band Crazy Horse. "Colorado" is incredibly personal and intimate, and yet also focused on subjects that are much farther reaching than you or I. It's politically charged and socially motivated, while never forgetting it's the small stories that often resonate most with listeners. A true master here closer to the top of his game than he has been in a very long time, if there's justice in the world it will win over new fans by the bucketload.

Review: Last year Skee Mask put the Ilian Skee Series on hold in order to release the brilliant "Compro" album on parent label Ilian Tape. Here he presents the second undeniably dancefloor-focused ISS EP of the year - a robust and forthright floor-tracker full of what the Munich-based composer calls "unstoppable fruity brain benders". It's certainly a vibrant collection of cuts capable of setting the pulse racing, with highlights including the mind-mangling analogue electro/techno/breakbeat fusion of opener "Juug", the deep two-step techno skip of "RZZ", and the IDM influenced shuffle of "Slow Music". Arguably best of all though is the teak-tough analogue electro wonkiness of "Play Ha".

Review: LA beat scene veteran Mtendere Mandowa looks to a fresh set of talented collaborators (including Panda Bear, MNDSGN, Thomas Stankiewicz) on his new album for Brainfeeder. It is his first for five years and the results are superb. The 14 original tracks across the album constantly evolve and flourish. Opener "Atoms Song" is built around a loopy keyboard that's joined by drifting synths that wash over you like a warm shower, Shufflin' beast "Daughter Callin'" is something that Dilla would be happy to put his name to and album highlight, Sudan Archives hook-up "Black Dove" is an emotive, georgeously moving number, all at once proving Teebs' ability to integrate dynamic talents seamlessly into his own sonic realm. Warm and organic, "Anicca" is an essential piece of work.

Review: Fire in the hole! Boylan's had less than two hours sleep. He's a man on the edge. Tensions are frayed. Patience is zero... The same number as the amount of effs he has to give about genre formalities. This is the result; a bubbling, toxic stew of no-rules bass that brings everything into the pot. Dubstep, breaks, grime, techno, jungle. Plus killer MCs like Riko Dan, Flowdan and Devlin. A remarkable free-for-all that brings the best of UK bass music together in a refreshing way, vibes range from the chainsaw bass and breaks swagger of "License" to the gothic theatrics of "Biblical Proportions" by way of the epic spoken word grime drama of "Start Up" with Flowdan. One of the best bass music albums of the year, Boylan should sleep well tonight.

Review: Put simply, there's so much to like about Black Marble's sugar-coated electronic pop record "Bigger Than Life". Which isn't to say it's all sickly sweet niceness, but rather Chris Stewart's third LP invokes the great synth chart toppers of the 20th Century. An air of A-Ha, a dash of Depeche Mode in their quieter hours and more than a hint of Metronomy. Tracks like "Feels" are as delicate and compressed as they are pacy and expansive, glittering keys shining above a crushed percussive section. Opening number "Never Tell" is a plodding pop anthem. "Private Show" drives its way through contemplative guitar chords and a soaring chorus that's almost guaranteed to get anyone in earshot singing. At times coming over somewhat melancholic, in other moments fist-in-air euphoric, all emotionally-charged, it's well conceived and catchy to the point of infectious.

Review: By the time he broke through in 2010 with debut album "Green Hands", Mohammad Reza Mortazavi had already earned a reputation for being the world's leading exponent of the tombak, an ancient Persian "goblet drum" that's still popular in the artist's homeland, Iran. Since then he's released countless albums showcasing his unique tombak techniques and virtuoso playing. His latest, "Ritme Jaavdanegi", is superb. It boasts eight solo pieces in which he creates mesmerizing, mind-altering rhythms and intricate fills using just his fingers and almost every part of the tombak (drum skin, rim, wooden base etc). Given the intricacy of the percussion sounds, you'll be genuinely amazed - like us - that it is the work of a lone musician.

Review: The sixth installment on Malin Genie's self-titled label welcomes Will & Ink resident Yaleesa Hall into the fold. Regular collaborators Malin and Yaleesa have turned out plenty of joint 12"s in the past on Will & Ink and this very label, and they sound more comfortable and sonically aligned than ever on this mighty record. There's no messing with "Alpha Decay," a loose and lysergic dubby techno workout. "Tachyon" orbits a similar soundworld, but shears the fat away for a minimal palette that sounds powerful echoing around the ample space in the mix. "Muck" slips into freaky after hours house territory, and "Stocha" drops a massive Basic Channel dub techno chord around a whisper of a beat to devastating effect.

Review: Under the Yak alias, Steel City producer John Randall has previously plied his wares on Version, 3024 and R&S, offering up distinctively percussive tracks that sit somewhere between techno and bass music. His latest outing - this time for Phonica Records - delivers more hard-to-pigeonhole goodness for discerning dancefloors. Opener "Zip" peppers African style tribal drums and raw Motor City techno bass with the kind of ear-catching bleeps that were once a Steel City staple, before the jumpy and upbeat "Guevenne Groove" wraps positive, glassy-eyed synthesizer motifs around sweaty, loose-limbed live drumming. "Fret" is a spaced out, bass-heavy two-step number laden with intergalactic electronics and undulating bass, while closing cut "Gerudo" brilliantly joins the dots between tribal rhythms and shimmering deep house.

Review: If you're unfamiliar with what the Desert Sessions are, or were, then a little back story probably won't go amiss. It's 1997 and Josh Homme (Queens of the Stone Age) debunks to the remote desert enclave of Joshua Tree, California. He takes a handful of friends with him, and this being music that handful of friends are all suitably talented and - in many cases - pretty renowned. The results have been enshrined in the pantheons of music folklore, recorded and gradually released in sequential volumes. Here we have "Vol. 11 & 12" then, which features a host of notable characters. From Scissor Sisters' Jake Shears to ZZ Top man Billy Gibbons and Warpaint's Stella Mozgawa. Spanning the gamut from the cartoonish nod to Tom Tom Club or B52s ("Chic Tweetz") to the head-nodding, scuzzy rock 'n' roll goodness of "Noses In Roses, Forever", it's exploratory, beguiling and very much worthy of your time.

Review: After impressing via relatively low-key appearances on NON and Hyperdub, Klein returns with his first album since his self-released debut, "Only" in 2016. It's the kind of album that rewards repeat listens, with the producer's layering of different audio elements (processed field recordings, snatches of instrumentation, skewed vocal snippets and so on), skewed beats and impressively out-there experiments requiring serious focus and consideration. We can confirm that it's well worth the time, though, as the set's mixture of out-there ambient experiments, glitchy beat tracks, dense sound collages and curious interludes is really rather impressive.

Review: It's been another banger of a year for Ricky Kalsi with a string of releases on his own Nebula imprint plus the likes of Dream Eater, Rotpot and Green King Cuts. Here he makes a very rare appearance on N-Type's Wheel & Deal with two more dark juggernauts. "Bad Trip" cracks open the heavens before the melted bassline oozes out and rains pure prang. "Rolling Skies" continues the theme of heavy weather as Kromey and the bossman go toe-to-toe in an intense game of militant funk. Bad to the bone.

Review: Given the popularity of Todd Terje's 2012 nu-disco anthem "Inspector Norse", it's a bit of a surprise that we've not seen more cover versions over the years. By our reckoning, this is only the second, following the release of The Gene Dudley Group's heavy funk take in 2015. Cruisic's version is very different in tone, re-imagining the Norwegian's spiraling dancefloor epic as a shuffling jazz-funk workout where Terje's spiraling synthesizer lead lines are replayed on electric piano and flute. There are plenty of synths involved, but it's an altogether warmer and looser take on the anthem-like original. Slowly provides the obligatory B-side remix, turning Cruisic's version into a jaunty summer synth-dub workout with a touch of dub disco flavour.