Leftfield Recommendations March 2013

Review: Dominick Fernow's prolific output continues apace here with a new Prurient album Through The Window for Kiran Sande's esteemed Blackest Ever Black label. Through The Window is formed of three tracks that apparently originated in the sessions Fernow recorded for the 2011 Prurient LP Bermuda Drain and the more recent Times Arrow 12", and can be seen as a further devilish ode to Fernow's "affection for European techno forms, but also his ability to apply them to his own uniquely lacerating purpose". The opening title track is perhaps the most eviscerating display of this intent, clocking up nearly 20 minutes but both B Side productions prove to be just as compelling.

Review: Through his various releases on Internasjonal, Buzzin' Fly and Mirau, Neil "Mano Le Tough" Mannion has done enough to suggest that he has a great album in him. Even his most dancefloor-centric deep house cuts, such as the much played "Stories", come complete with emotion-rich melodies and bags of heady atmosphere. It's these two characteristics that shine through most on Changing Days, his long-mooted debut album for Permanent Vacation. Largely downbeat in mood and tempo, it bristles with atmosphere and inventiveness, weighing in somewhere between teary-eyed deep house and glacial electronica. As debut albums go, it's pretty darn good.

Review: Opting for some artfully woven anonymity for some of their releases, emergent Belfast electronica label Champion Sound offer up another no frills slab of wax with a potent selection of downtempo steppers. There are plenty of familiar reference points here from the pitch-shifted vocals to the mournful pads that exist in the Burial inspired tributary of dubstep, but there's plenty of range to be found on the record, not to mention accomplished production. At times the beat is little more than a heartbeat, at other times rasping and brittle, but always moving in an entirely different way to its counterparts. The mood may remain the same throughout the EP, but it's the drums that make this record worthy of attention.

Review: Autechre has always divided opinion. There are those who consider them geniuses; mavericks who make out-there computer music that simultaneously sounds like a riot in a steelworks, and an argument onboard the International Space Station. Others are less kind, but then their particular brand of crunchy IDM and leftfield electronica is undoubtedly an acquired taste. Exai, their 11th album, stretches out over two CDs. As ever, it packs in a lot of ideas, a swathe of mentalist rhythms and a boatload of curious noises. At times it's strangely calming, at others like being smashed round the chops with a metal bar. Those who enjoy their work - and we certainly do -will find much to enjoy amongst Exai's sprawling, feature-length presentation.

Review: Brutal Music's Dom Thomas made a notable impression on the Juno review staff with the stunning Super Disco Drums, a super limited 12? back in 2011 and after a period of convalescence returns in more expansive form brandishing a hard to categorise album. 2013 is a thoroughly Mancunian affair, produced in collusion with two Lancastrian icons in 808 State's Graham Massey and Jez Williams, gruff voiced frontman for veteran rock act Doves. 2013 also features contributions from an unlikely cast that includes Belle & Sebastian band member Chris Geddes, Lee E John from 80s soul sensations Imagination and Teenage Fanclub's Gerry Love. The resultant 13 track set successfully veers through a barrage of well-made and interesting individual tracks, with a shared sonic identity that cohesively binds even their most disparate moments. An impressive debut album albeit one that takes a few listens to wrap your head around!

Review: Autechre has always divided opinion. There are those who consider them geniuses; mavericks who make out-there computer music that simultaneously sounds like a riot in a steelworks, and an argument onboard the International Space Station. Others are less kind, but then their particular brand of crunchy IDM and leftfield electronica is undoubtedly an acquired taste. Exai, their 11th album, stretches out over two CDs. As ever, it packs in a lot of ideas, a swathe of mentalist rhythms and a boatload of curious noises. At times it's strangely calming, at others like being smashed round the chops with a metal bar. Those who enjoy their work - and we certainly do -will find much to enjoy amongst Exai's sprawling, feature-length presentation.

Review: Lusine aka Jeff Mcllwain has been part of the Ghostly International crew since the early 00's and his individualistic yet immediately recognisable sound has been a considerable part of their road to success. He's finally back with this highly anticipated LP, and yes...it's a right scorcher from start to finish. "Panoramic" sets the scene in slo-mo hip-hop style, whilst "Get The Message" goes all crazy on the vocals, sounding something like Hot Chip on a balearic tip. There's definitely some more than memorable moments here, like the grooving 4/4 licks of "On Telegraph"; the hazy, psychedelic melodies on "Without A Plan"; or even the hummable chords of "By This Sound". Whatever your taste, Lusine is here to sort you out - ten hypnotic tracks of downtempo house, neo-hip-hop delight and synth-led pop debaucheries.

Review: Since first joining the Ramp Recordings family way back in 2008, Finnish bass heads Tommi Llikka and Samuli Tanner have generally impressed with their wonky blends of deep dubstep and icy electronica. Here Ramp issue an addendum plate to their wonderful album USB Islands with a triple pronged selection of killer remixes. Amen Ra, Ramp wunderkind Gerry Read and Clouds compatriot all contribute and it's no surprise that Read's effort sticks out. Read's remix of "I'll Be Broke" is as ramshackle a techno tracks as you'd expect from the producer, transforming the off-kilter melodicism of the original into something completely unhinged, as atonal, rubbery bass stabs mingle with modular bleeps and whistles.

Review: A new Vlek release is always a welcome sight here at Juno HQ as the label have got the perfect balance of an eminently interesting roster of electronic artists and a killer approach to design - both are very much evident on this new collection from Squeaky Lobster. The Brussels based producer has been a prolific outlet for Vlek over the years, and the Killing Eleven EP stands out as some of his finest work to date. Happily weaving between dreamy orchestral moments and crunched up hip hop beats that sound like Dilla set in concrete, there's a bottom heavy aesthetic throughout that gives the Lobster a distinctive swing. It's a cohesive eight track suite, yet the ghostly dynamics of "The Monster Swim" still stands out.

Review: Having abstained from an album release for some three years, Matmos return in triumphant form with the confident, accomplished A Marriage Of Two Minds, embracing their classic traits whilst pushing in new directions all at once. There are many moments of lavishly layered live instrumentation, such as the sumptuous piano and double bass of "You", or the chiming motor of "Very Large Green Triangles", where Matmos can be found applying their mathematical minds outside the machine. Fear not though, this is still as bizarre and surprising a ride as you would hope for from Matmos, swerving via bricolage audio mess and tongue-in-cheek hillbilly rave with the irreverence that has always accompanied Drew Daniel and MC Schmidt.

Review: LISm, Ellen Allien's seventh full-length, is a curious beast. Co-produced by fellow Berlin producer Bruno Pronsato, it takes the form of a single, 45-minute track and is apparently based on the soundtrack she wrote with Thomas Mulker for the Drama per Musicadance performance at the Pompidou Centre, Paris, in 2011. The 30-second clip available here doesn't do the undulating music justice; in the space of 45 minutes, it groggily stumbles between crystalline electronica, horror-inspired moodiness, droning ambience, neo-classic piano compositions and half-vocal oddness. As atmospheric as an off-kilter soundtrack should be, it's Allien's most interesting and involving work for some time.

Review: The Essex born but Berlin dwelling Gold Panda has always represented an amusingly self effacing anomaly amongst an ever swelling sea of electronic producer's stricken by a lack of humour and original ideas Having receded from the spot light in the aftermath of his highly lauded debut album Lucky Shiner and largely worked on building the roster of artist on his NoTown label, Derwin Panda (no doubt reluctantly) returns offering a glimpse at where his sound is now on this Trust 12". A brief intro sets the tone before the hazy, saturated textures of the title track engage in cold war with the crisp, slinky groove and slightly maudlin melodics. Vinyl crackle and clopping drums expand into a wonderful organic techno refrain on the highlight that is "Burnt Out Car In A Forest" whilst "Casyam 59#02" is contemporary electronica at its finest. The forthcoming Gold Panda album should be very interesting on this basis of this.

Review: Purportedly formed of a trio playing prepared turntables and tinkering with sequencers and effects, The Durian Brothers have been creating a clamour on Diskant with a deranged brew that applies a Musique Concrete approach to sound design, minus the excessive layering and cutting. There is a rhythm buried within the gamelan tumbles on "Heat", mostly defined by deft scratches but also inherent in the manic looping of myriad percussion lines. "Girl Girl" has a bit more funk to it, coming on with a more classic turntablism feel but still inhabited by strange wind instrument samples and scratchy noises. "Ferme Intention" does away with such notions by stripping down to nagging sound effects and an ominous drone.

Review: Joshua "Herve" Harvey must be getting a little antsy. Having conquered the world with his particular brand of balls-out rave madness, he seemingly pines for something more. Of course, we've been here before; in 2009, at the height of his rise to prominence, he surprised critics by releasing an album of woozy, ambient-meets-experimental indie oddities as The Young Lovers. The Art of Disappearing, his second Herve full-length, comes from a similar place. Earnest, introspective and primarily concerned with atmospherics (think backwards guitars, Radiohead-ish sonics and shoegaze ambience), it's a startling set and a risky move. It is, though, thoroughly enjoyable and should go some way to redefine his reputation; these are not so much Cheap Thrills as deep ones.

Review:  With a mind-bending array of releases behind him, largely on cassette, it's not easy to get a firm grip on what Hans Dens' Innercity project is all about, but then that's not necessarily what it's about. In the same spirit of adventure that possesses the likes of Ekoplekz, the music on A Lion Baptism is a chaotic blend of noise and drone studies with a nod to Musique Concrete in the manic and detailed deployment of samples. At times this can reach discernible musical peaks, only to be manhandled by another barrage of sonic grot wielded with a thrilling impulsiveness. The diversity on the release will keep your brain on its toes, touching upon so many different tones and moods across the eight track savagery.

Review: Dual Form sees two Los Angeles labels join forces; Stones Throw you should know, whilst Leaving Records is less familiar unless you are immersed in the DIY tape culture scene. Overseen by the musician Matthewdavid and visual director Jesselisa Moretti, Leaving Records is a hand curated label that's been active since late 2009 and released cassette tapes from an array of talent that includes Vlek Records artists Lapti and SSaliva, caps lock enthusiast Dem Hunger, Julia Holter and Brainfeeder regular Ras G. Such diversity qualifies Stones Throw's description of Leaving Records as being "curated by gut, not by genre". The 18 track Dual Form compilation looks to celebrate this diversity and experimentation with several of the aforementioned artists featured along with contributions from Sun Araw, Odd Nosdam, Philadelphia based producer Knx and more.

Review: Drum and bass producer turned premiere exponent of gloopy synth experiments Lance Dibblee turns out a new album of Red Math material for the ever excellent Seattle label Further Records. If you indulged in Unhinged, the 2010 Red Math tape for Digitalis then you'll be all over this eleven track set which pays little attention to the concept of beat dynamics, instead favouring a churning array of gurgling analogue bleeps, squeaks and flourishes. "Storm" and the Delia Derbyshire-esque "Space Music" stand out on first listen but this is always going to be an album that you willingly allow to consume your every sense over time.