Tumgik
#Hyperdub Records
nineteenfiftysix · 1 year
Audio
Burial - Hospital Chapel (Streetlands EP, 2022)
4 notes · View notes
ruinedholograms · 2 years
Photo
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
10 notes · View notes
stradarecords · 1 year
Photo
Tumblr media
BURIAL / STREETLANDS : HYPER DUB(12") ロンドンの鬼才Burialによる注目盤!ディストピアな雰囲気をも感じさせる深い深~いアンビエント作品! #BURIAL#HYPERDUB#electronic#experimental#12inch#vinyl#record#stradarecords#dj#vinyljunkies#kobe#motomachi#strada#recordshop#recordstore#神戸レコード#元町レコード#レコード店#レコード#アナログ https://www.stradarecords.com/shop/item/27980/index.php (at Strada Records) https://www.instagram.com/p/CoLvIo4hyRH/?igshid=NGJjMDIxMWI=
2 notes · View notes
album-a-day-project · 2 months
Text
Tumblr media
2/2/24
Burial
Dreamfear/Boy Sent From Above EP
====
Sounds like old Burial, but with a faster tempo. I noticed that he still kept his ad-libs which I now notice are the shaking of a spray-paint can and a police radio. There are only two tracks on this EP, but runs 30 minutes in length. In his later EP releases he's been working on more experimental sounds; on this Burial seems to put them all together in a cohesive piece of music. It also seems like he incorporates many different tracks into these two, but it has enough breath and space where everything still sounds really cohesive. It's also really interesting that this is his first release with XL Recordings and not with Hyperdub.
8/10
0 notes
zaphmann · 1 year
Text
In Memory of John Peel Show 221021 Podcast & Playlist
In Memory of John Peel Show 221021 Podcast & Playlist
Bleu Russe “This show goes beyond worldwide with Radar Men From The Moon, the Man from Atlantis and Fat Earthers!” >> the best new music, independent of the industry system – back this show on patreon Paypal to [email protected] heard in over 90 countries via independent stations (RSS)Pod-Subscribe for free here or Embed/listen at podomatic – itunes Apple, Audacity, Google Podcasts, Gaana,…
Tumblr media
View On WordPress
0 notes
jgthirlwell · 1 year
Text
2022 Year In Review
This year once again I invited some friends and colleagues to reflect on 2022
JG Thirlwell
Composer Foetus Xordox Manorexia Steroid Maximus Venture Bros Archer www.foetus.org
2022 was a marathon year. I took on too much work, but somehow got through it. It challenged me. I played some excellent shows in Woodstock, Los Angeles, Orlando and NYC. Reconnected with Soft Cell at the Beacon. Reconnected with Sarah Lipstate. Wrote a ton of new music for Archer and a Venture Bros movie. Taught a class on film scoring at the New School. I still woke up 5am in a panic on too many occasions. And I saw some great concerts.It was difficult to whittle down this list but here are a lot of albums I enjoyed in 2022, in no particular order.
Tyondai Braxton Telekinesis (Nonesuch) Zeal & Ardor Zeal & Ardor (MVKA) Papangu Holoceno (Bandcamp) Extra Life Secular Works Vol 2 (Bandcamp) Carl Stone Wat Dong Moon Lek (Unseen Worlds) / Gall Tones (Unseen Worlds) / We Jazz Reworks Vol 2 (We Jazz Records) Louis Cole Quality Over Opinion (Brainfeeder) Ben Frost 1899 OST (Invada Records) Loraine James Building Something Beautiful For Me (Phantom Limb) Persher Man With The Magic Soap (Thrill Jockey) Anna Meredith Bumps Per Minute (Moshi Moshi) Sault Air (Forever Living Originals) The Smile A Light For Attracting Attention (XL) Shamblemaths Shamblemaths 2 (Apollon Prog) Julia Wolfe Oxygen (Cantelope) Heiner Schmitz’s Symprophonicum Sins & Blessings (Big Band Records) Burial Antidawn EP / Streetlands EP (Hyperdub) Gotho Mindbowling (Controcanti Produzioni) Oliver Coates The Stranger OST Gilla Band Most Normal (Rough Trade Records Ltd) Blanck Mass Ted K OST (Sacred Bones) Arcade Fire WE (Interscope) Yeah Yeah Yeahs Cool It Down (Secretly) Catarine Barbieri Spirit Exit (light-years) Felicia Atkinson Image Language (Shelter Press) Netherlands Kali Corvette (Three One G) Kemper Norton estrenyon (Zona Watusa) Elysian Fields Once Beautiful Twice Removed (Ojet) Simon Hanes Hurricane Salad Two Fingers Red Bass DJ Mix 22 (NoMark) Backxwash His Happiness Shall Come…(Ugly Hag) Bob Vylan The Price of Life (Ghost Theater) John Elmquist’s Hard Art Groop Stars and Bells / Zero Rest Mass / Trip Up reissues (Bandcamp) Dan Deacon Hustle OST (Netflix Music) Bent Knee Frosting (TTTH) Boris Heavy Rocks 2022 (Relapse) Wet Leg Wet Leg (Domino) Author and Punisher Kruller (Relapse)
Honorable mentions Hudson Mohawke Cry Sugar / Rival Consoles Now is / Haunted Horses The Worst Has Finally Happened / Sirom The Liquified Throne of Simplicity (Tak:Til)/ Meshuggah Immutable / Ani Klang Ani Klang / Pimpon Pozdrawiam (Pointless Geometry)
Shows
The Smile at Kings Theater Julia Wolfe Steel Hammer Carnegie Hall The Protomen LPR Tristan Perich St Thomas ChurchSparks Town Hall Anna Meredith Elsewhere Lingua Ignota LPR Royal Blood Terminal 5 Kraftwerk Radio City Hiro Kone Pioneer Works RATM / RTJ MSG Matmos LPR Rammstein MetLife Stadium Yeah Yeah Yeahs Forest Hills Stadium Melvins Irving Plaza Roxy Music MSG Sean Lennon Stone Elysian Fields The Owl The Comet Is Coming Bowery Ballroom Child Abuse TV Eye Fennesz Pioneer Works Helm Elsewhere
Film / TV
The Stranger All Quiet In The Western Front Dont Worry Darling Moonage Daydream The Velvet Underground Elvis Men Northman Unbearable Weight Of Massive Talent White Lotus
Books
I read a ton of memoirs this year. Standouts were
Kid Congo Powers Some New Kind Of Kick Danny Sugerman Wonderland Ave
+++++++++++++++++++++++++++++++++
Kemper Norton
LISTENING
My favourite album of the year was the dayglo psychedelic joy of Panda Bear/ Sonic Boom’s Reset , with honourable mentions for the amazing Aethiopes by billy woods and Alison Cotton’s beautiful The Portrait You Painted of Me. Also, must mention the massive , varied and crucial Rental Yields compilations on Front and Follow /Gated Canal Community in aid of homeless charities in the UK.
GIGS
Didn’t get out much this year but live events I loved this year here in Brighton, UK included the blasted joy of deafkids at The Hope, the final gig of the mighty Slum of Legs at The Green Door Store, and playing alongside Alexander Tucker’s Microcorps and Opal X at The Wire’s 40th anniversary shows at The Rosehill as part of the reanimated Outer Church.
In terms of radio, as well as Elizabeth Alker’s essential breakfast and Unclassified shows on Radio 3 there were loads of great shows on the fantastic Repeater Radio ( many previously on the mighty Neon Hospice) including Afternoon Delight by Ix Tab and the best of Eastern Europe showcased on Slav to the Rhythm by Catherine and Iris.
READING
Apart from the works of nonconformist Cornish poet Jack Clemo and American novelist Pete Dexter ( Deadwood and Paris, Trout ), new discoveries were thin on the ground this year. I read and reread a lot of old favourites ( Ray Bradbury, Cormac McCarthy, Pat Barker , Elmore Leonard ) and finally fell in love with Jane Austen.
WATCHING
My film and TV viewing in 2022 was largely informed / enforced by my 5 year old daughter, and the essential texts we rewatched repeatedly were the lively and proactive Gaby’s Dollhouse, multi-species global explorers the Octonauts , surreal UK gem Sarah and Duck and of course, the inspirational Aussie masterpiece Bluey. I did manage to catch a few films either new or new to me in 2022…
Wake in Fright ( 1971) : another Australian key text ( although less adorable than Bluey ). The horrors of closed environments, toxic masculinity and continuous drinking.
Enys Men (2022) : Cornish filmmaker Mark Jenkin’s spooky and minimalistic follow-up to his incredible Bait (2019) , a wonderful drama of local economic realities and identities. Would love to score one of his films but unfortunately he does an excellent job of this himself.
Stalker (1979) : As good as everyone said it would be.
EATING
Chorizo with honey Chinese black fungus
DRINKING
Everything by Burning Sky brewery ( Sussex, UK)
CREATING
I managed to churn out two tape releases in 2022 in between all the watching, listening, eating, drinking etc.
Estrenyon was released on tape and download with the Barcelona label zonawatusa and was inspired by historical UFO sightings throughout Cornwall from 1888 to 2021. Rife is the story of a Sussex Spring day and was released via Woodford Halse, who have released loads of great electronic and folky music by the likes of Xylitol and Sairie. On top of that , our first volume of download-only pay-what-you-like winter tunes Montol Melodies is available on our bandcamp until the traditional English old ‘ twelfth night ‘ ( January 12 2023).
+++++++++++++++++++++++++++++++++
Lee Ranaldo
2022 LIST
I’m terrible at lists like this, and usually don’t keep track towards such a year-end summary. Pardon the self-focus, this is my year-in-review accounting, mostly just remembering to myself.
August in Vienna Leah and I spent the month of August in Vienna, creating a public artwork, sound+image, called Fermata. I discovered the world of small-body, near century-old, German + Austrian guitars. I wrote the main melodic material one one of these tiny, wonderful instruments,. At one point we had 3 of them in the apartment down in the MuseumQuartier. A whole new world of sound to explore. Side trips to Berlin and Prague. (https://tonspur.at/soundworks/lee-ranaldo-leah-singer/?lang=en) Exhibitions in Berlin and Eupen, Chile Media Arts Biennial, Covid Flowers online Exhibitions of my Black Noise record print editions in Berlin, Lost Highway road drawings in Belgium, and watercolor covid-flowers online. In Chile Leah and I created an outdoor sound/art work, Do You Read Me?, in a field of trees surrounding an observatory above Santiago. Sounds were generated from signals collected from deep space by another observatory in the Atacama desert. A sound displacement work.
Medicine Singers in Brasilia, Montreal, NYC Had fruitful wanderings this year with Yonatan Gat, working with indigineous players from the USA, Brasil and Canada. Recording sessions in Montreal at fabulous Hotel2Tango studio, and in a splendid house set on the edge of the city in Brasilia, one of my favorite places. Happy to have been invited along for this most interesting ride.
Touring resumes Mostly in Europe, mostly quite wonderful. After 2 years at home it felt good to stand up in front of audiences again. Lots of solo acoustic shows playing In Virus Times and singing songs, but also interesting collaborations with Yuri Landman; My Cat Is An Alien, Jean-Marc Montera and Sophie Gonthier, and a special ‘Velvets Suite’ with French legend Pascal Comelade in Banyoles, Spain. Also the beginnings of a new collaboration with Chicago guitarist Michael Vallera, in a great new space in NYC for experimental music, 411 Kent (aka Shift). Leah and I premiered the new version of our Contre Jour performance with suspended guitar and films, in A Coruna, Spain and at the Three-Lobed Fest in Durham, North Carolina – which was an amazing three days of music. Also a short NorthEast tour with Jeff Parker in May.
London/Paris/Leah/ Catpower My touring year ended with a month split between Europe and the UK. A friend-lent apartment in Paris as base, with shows and lectures in Nantes, and Brittany. Five shows in the UK, the most I’ve played in some time there, including a free-ranging set with the Pop Group’s Mark Stewart and an eclectic band. Wild night! Leah flew over to celebrate her birthday, with CatPower at Royal Albert Hall (first time there for us both) recreating Bob Dylan’s legendary show there – both acoustic and electric sets – from 1966. What a great night, and our time together, in London, Paris and Brittany, was splendid.
Hurricane Transcriptions This year I played solo keyboard shows for the first time ever – the solo-for-Fender-Rhodes performance of my Hurricane Sandy Transcriptions, first at Karma Gallery in NYC, accompanied by films from LA Artist Mungo Thomson, and also at a Xenakis celebration in Vienna and at the opening of my exhibition of Lost Highway drawings, ‘The Road Is Like The River, Constantly Changing Yet Ever The Same’ – at IKOB Museum in Eupen, Belgium. (ikob.be)
Circuit des Yeux at Green-Wood Cemetery I think my favorite gig of the year was Circuit des Yeux in Green-Wood Cemetery on a rainy night in June. The weather threatened the show all evening, which made this incredible performance – just Haley and Whitney Johnson (Matchess). Just a magical, powerful night.
Godard’s King Lear In late August I committed to introduce Jean-Luc Godard’s King Lear, which I’d never seen, at TriBeCa’s Roxy Cinema, which has been doing terrific programs organized by Illyse Singer. I love Godard’s films, they are an important touchstone for me, and I took this as an opportunity to discover both the film and Shakespeare’s play; my Shakespeare knowledge is terrible, so I boned up on the play. Four days before the screening, the great master died, which cast the whole night in a new light. The film has been described by Richard Brody of the NY’er as ‘one of the best films of all time’ – wow. Burgess Meredith, Molly Ringwald, Norman Mailer, Julie Delpy, Leos Carax, and Godard himself center-stage and the plugged/unplugged oracle Professor Pluggy. What a film. As usual with a Godard film: what a sound mix!. See it in 35mm.
Broken Circle / Spiral Hill I have had a long fascination with the work of Robert Smithson, since discovering the book of his writings in the 70s. In the early 80s on the first few SY tours, I ‘coaxed’ the band into visiting one of his 3 still existing artworks – Broken Circle/Spiral Hill – in the countryside of northern Holland. Back then it was like a treasure hunt trying to find it, in the dark, late on the way to Club Vera in Groningen. In 2020 I visited it for a third time w friend Carlos, in the week before the world shut down. It had been totally restored and ready for it’s moment – just at it’s 50-year mark. In 2022 the site-an old, long-unused quarry – was opened to the public for the first time in ages, across 8 weekends. This year I narrated a podcast for the Holt/Smithson Foundation and the Netherland’s Land Art Contemporary, about Smithson and the work, which went live in November. (brokencircle.nl)
Birdsong Project I worked on this project, as both producer and performer, to raise money to benefit the Audobon Society for the preservation of avian habitats. Over 200 musicians contributed to this 20-LP set, as well as writers, poets and artists. Uplifting and surprising. (https://www.audubon.org/birdsong-project)
James Jackson Toth In the early 2000s I produced an album – James and the Quiet – with Mr. Wooden Wand, who’s music I love. This year a group of friends organized a birthday tribute to James, with 33 of us recording versions of songs from his vast catalog. I recorded ‘Wired to the Sky’, a favorite from the album we made together, recorded in our Viennese apartment in August, which closes this Birthday Blues collection. (https://aquariumdrunkard.com/category/jamesjackson-toth/)
Some Music/Art/Books etc:
Lou Reed – Words + Music, 1971 RCA Demos David Bowie – Divine Symmetry Catherine Christer Hennix – Selected Early Keyboard Works (https://blankformseditions.bandcamp.com/album/selected-early-keyboard-works) Plus Instruments, Februari-April ’81 (first record I was ever on) on Domani Records, NYC. In/Out/In, Sonic Youth. So cool to see this release welcomed so warmly! Cecilia Vicuña, Tate Modern Turbine Hall Venus of Willendorf, Naturhistorisches Museum, Vienna Matisse: The Red Studio, Museum of Modern Art, NYC Claude Monet – Joan Mitchell, Fondation Louis Vuitton, Paris Marco Fusinato, Desastres, Venice Biennale Family Affair, a 20-minute short film included in the Criterion Collection edition of Josh & Benny Safdie’s 2009 Daddy Longlegs, outlining our two families intertwined involvement in the making of the film. The most glorious home movie ever. The Double Life of Bob Dylan: A Restless, Hungry Feeling, Clinton Heylin. First of a 2-part bio of the (other) Bard, making first use of all the new material out from Tulsa’s Bob Dylan Center archive. Loved: Olivier Assayas’ Irma Vep mini series. He’d used SY’s ‘Tunic’ in his original 1995 film, and we became friends and occasional collaborators. The new limited series mines the story anew, meta-mixing in his 1995 film and Louis Feuillade’s 1915 original, Les Vampires. The most contemporary piece of ‘television’ I’ve seen in ages, just wonderful, with fantastic cast including a spot-on stand-in portrayal by Vincent Macaigne as the director, Alicia Vikander as Irma Vep, and Lars Eidinger as Gottfried. Also Devon Ross, Carrie Brownstein, many other great performances. Loved it. Still watching: Westworld, Handmaid’s Tale. Hal Willner Memorial, St. Anne’s, April. Miss Hal all the time…
---LR, Winnipeg, December 2022
+++++++++++++++++++++++++++++++++
Brian Chase
Yeah Yeah Yeahs
Brian chose to write about one album that impacted him in 2022
This write-up is in no way meant to be a formal review - I don’t deem myself qualified for that task here - rather, this is meant to share personal enthusiasm and bring an album to light - like, "Have you heard this, it's really really amazing and inspiring and why isn't there more talking about it, and…" As a musician working within a greater community, I am acutely aware of the creative drive to continually uncover new modes, methodologies, practices etc. of expressing our chosen art form - each performance and each album serving as an instance of discovery and offering new perspectives on old conundrums. Whether the genre is rock, jazz, noise, free-improvisation, modern classical etc. the relationship of discourse and dialogue is still the same. At the forefront of this dialogue is John Zorn, as he has been for decades, and a major contribution to the conversation is the 2022 album Incerto - Existentialism, Psychoanalysis, and the Uncertainty Principle. Here, Zorn is the composer and the performing ensemble consists of some of Zorn's tightest in recent years: Brian Marsella on piano, Julian Lage on guitar, Jorge Roeder on bass and Ches Smith on drums. As Zorn says in the liner notes, "Incerto is about possibilities, probabilities, inevitabilities and improbabilities." Formal logic for musical structure is considerably expanded with these compositions and never before have I heard such new forms for improvisation. In these pieces, unexpected juxtapositions and superimpositions abound, as foremost examples of its many distinct features. The syntax of this music is beyond the scope of any previous way that I've conceived of music existing. Not only are harmonic and rhythmic conventions regularly reconstructed - often replaced with adjacent compliments and aggressive contradictions - but entire paradigms of improvisatory behavior are game as well. Shifts in genre/mood/tempo/texture/harmonic character/melodic personality place the improvisor in varying contexts - often in a short amount of time - and each context requires its own set of responses. The whole scope of musical history+trends+possibilities takes on a dynamic relational co-existence, in ways that I've never previously heard or thought possible - like when angular atonal lead lines enter on top of a serene ostinato, or impressionistic chords alternate between stillness and motion, or genre styles and idiomatic references collide, or gravelly density and noise build tension culminating into a placid release. Plus, so much of the composed material is really just so cool. Paramount to it all is the music’s immense depth of feeling. The moods on this album are evocative, romantic and ecstatic as much as they are revolutionary, kaleidoscopic and mystifying. As the music winds through its structural twists and turns, the key that holds it all together is sincerity of spirit - the performance of this music, as well as listening to it, is a literal experience. And within each singular track is the remarkable performance of the individual musicians themselves - each a respective master at the craft. Additionally, the album as a collective whole, being comprised of eleven very different tracks, functions as a macro-structure in itself which expands on the themes present in each individual track. So many new modes of music making are presented here - integrating them into current music making will take a while as more people discover its brilliance and begin to absorb the concepts and ideas it conveys. It is uniquely Zorn and there for us musicians to process and in turn produce that which is uniquely ours. Incerto is a gem in the conversation - we can listen and run with it how we like - but we have to hear it first.
+++++++++++++++++++++++++++++++++
David T. Little
composer www.davidtlittle.com
MUSIC (new, revisited, & in rotation)
Vile Creature – Glory! Glory! Apathy Took Helm! Burning Witch – Crippled Lucifer tryphème – Aluminia Louis Cole – Quality Over Opinion KANGA – You and I Will Never Die DELANILA – Overloaded Amyl & the Sniffers – Comfort To Me Kae Tempest – Let Them Eat Chaos Graindelavoix & Björn Schmelzer – Josquin, the Undead: Laments, Deplorations & Dances of Death Run The Jewels – 1, 2, 3, 4 The Cure – Disintegration, Wish, Show, Pornography Tenderheart Bitches – High Kicks George Walker – Piano Sonatas (Steven Beck) Rammstein – Herzeleid, Mutter, Sehnsucht, Untitled (in heavy rotation after the MetLife Stadium show) Living Colour – Vivid Utah Phillips – We Have Fed You All For A Thousand Years Tom Morello – Hold The Line (track, feat. grandson) ACRONYM – Oddities & Trifles: the Very Peculiar Instrumental Music of Giovanni Valentini Late Stravinsky (various) Son Lux – Everything Everywhere All At Once (ost) Harrison Birtwistle – The Moth Requiem Christopher Tin – The Lost Birds Karim Sulayman, Apollo’s Fire – Songs of Orpheus Hermann Nitsch – Symphony No. 9 “The Egyptian” Jay Wadley – Swan Song (ost) Herem – Pulsa diNura Danny Elfman – Big Mess / Bigger. Messier. (Deluxe.) Scott Walker – The Drift
FILMS & SERIES (new & rewatched) Hellraiser (Clive Barker) The Rocky Horror Picture Show (Jim Sharman) Tetsuo: The Iron Man (Shin'ya Tsukamoto) Private Life (Tamara Jenkins) Double Take (Johan Grimonprez) After Life (Ricky Gervais) One Big Bag (Every Ocean Hughes) The Village Detective (Bill Morrison) Polia & Blastema (E. Elias Merhige) Sibyl (William Kentridge)
The Copper Queen (Crystal Manich) Wishes (Amy Jenkins) The Once and Future Smash (Sophia Cacciola & Michael J. Epstein) End Zone 2 (August Kane) All Quiet on the Western Front (Edward Berger) Everything Everywhere All At Once (Daniels) Russian Doll (multiple directors) Piggy (short) (Carlota Pereda) The Mitchells vs. The Machines (Michael Rianda & Jeff Rowe) WHAT DID JACK DO? (David Lynch) The Power of the Dog (Jane Campion) Pig (Michael Sarnoski) The Green Knight (David Lowery) The Northman (Robert Eggers) Muriel’s Wedding (P.J. Hogan) BoJack Horseman (multiple directors) Eyes Wide Shut (Stanley Kubrick)
BOOKS (some) Body Horror - Anne Elizabeth Moore Mrs. Dalloway - Virginia Woolf a ghost in the throat - Doireann Ní Ghríofa Cleanness – Garth Greenwell A Saint from Texas – Edmund White Out Loud – Mark Morris The Gastronomical Me – M.F.K. Fisher Agamemnon – Aeschylus (trans. Robert Fagles)
+++++++++++++++++++++++++++++++++
Jonnine
HTRK
2022 good vibes - Hackedepicciotto tour photos such #couplegoals, kicking off the HTRK tour in Atlanta was exhilarating! Big hangs with my overseas buds Nathan Corbin and Yasmina Dexter, writing new songs with Nigel and keeping THE dream alive, my puppy Pali growing up into mumma’s good boy, instagram follows @the.holistic.psychologist (self healing)  @cracked.bolos (cakes), DJ Sundae, Amir Shoat, ‘Crush’ by Richard Siken (borrow from Nigel) writing bonkers dreams down again, Jonathan Richmond lyrics, tik tok #stayathomegirlfriend, jamming with Brother May in London and playing cafe OTO, second season Euphoria, White Lotus, Heartbreak High, rewatching Curb, Julia Fox’s eye makeup tutorial, films The Weekend and 45 Years by director Andrew Haigh, Charlotte Rampling interviews, fam long drives with Conrad and Pali finding songs for NTS <3 <3 Conrad got me into the Kinks!
Some music  i liked Actress — Dummy Corporation (Ninja Tune)  Autumn Fair - Autumn Fair  DALE CORNISH — Traditional Music of South London (The Death Of Rave)  Delphine Dora — A Stream Of Consciousness II (for piano solo) Coby Sey — Conduit (AD 93)  CS + Kreme — Orange (The Trilogy Tapes)  Harry Howard  - Slight Pavilions  Various / Kashual Plastik — Field of Progress Jonathan Richman - Jonathan Goes Country  Julia Reidy - World in World  Kitchen Cynics — Strange Acrobats Liz Durette - A Christmas Gift To You  Malvern Brume — Body Traffic (MAL)  Taylor E. Burch — The Best of Taylor E. Burch (Downwards)  The Incredible String Band — Wee Tam and the Big Huge  The Kinks - The Kinks Are the Village Green Preservation Society  Thomas Bush — Preludes Warm Currency — Returns (Horn Of Plenty) 
+++++++++++++++++++++++++++++++++
Lawrence English
(Room 40 Records)
This year was the first time I had travelled internationally since 2019. The thing I realised I've truly missed is seeing people. The opportunity to share ideas, to be curious with others and to just be in the world was, well, magical. I think if anything the past few years has reminded me (us?) not to take things for granted…especially each other. This year was also the first time I returned to making solo electronic works. It had been about six years since I had completed Cruel Optimism and, if I am honest, I wasn’t sure if I still had an appetite for making solo electronic works. Approach however proved, to me at least, I can still derive great pleasure from working alone. Unexpectedly, I found the whole process of the album very satisfying, like it was new all over again, not something I always feel.
There’s been a tonne of great input into the system this year. Ergo Proxy totally got me thinking. I was late to the party, but it was a party I am glad I did make it to. Puce Mary made some tapes back in April, both of them were totally ace, filled with an acute sense of heaviness. I very much enjoyed Boy Harsher’s work this year too, outside my usual orbit in some ways, but they are really onto something of late. I caught up with my old and dear friend Kate Crawford, and had a chance to read over he excellent Atlas Of AI book, she is a tower of radiance. Annea Lockwood’s, work occupied a great deal of my thoughts this year, realising her Piano Transplants all at once was quite simply a delight. Adam Curtis’s TraumaZone left an indelible mark in more ways than one. I returned to Vancouver to photograph the crows that started off my homage to Masahisa Fukase, perhaps that tract of work is done? Oh and thanks to a dinner with Atsuo from Boris, and the encouragement of my small humans, we all started down the pathway of the epic saga of Gundam too. I missed that when I was younger, so it’s a long road to catch up on….but I started.
Oh and on a purely personal note I was able to commission a shikishi from Yoshihisa Tagami. Seriously, my 12 year old self was reborn when it arrived. The world is so much bigger, and smaller, than that little human could ever have imagined!
Love to you all and here’s hoping 2023 is full of curious surprises and wonder.
+++++++++++++++++++++++++++++++++
John Tottenham
author
A LISTLESS LIST
Best Books:   Woodcutters Concrete Extinction| Wittgenstein’s Nephew Old Masters 
Thomas Bernhard
A Father and his Fate More Women than Men Manservant and Maidservant A Family and a Fortune  -  Ivy Compton Burnett   Hawkwind: Days of the Underground  -  Joe Banks
Best Songs:   Eunice Collins  –  At the Hotel Gloria Barnes  -  Old Before My Time Sonia Ross  -  Every Now and Then Rozetta Johnson  -  A Woman’s Way Debbie Taylor  -  I Don’t Wanna Leave You Denise LaSalle  -  Trapped by a Thing Called Love Barbara Stant  -  Unsatisfied Woman Ann Alford  -  If It Ain’t One Thing Big Martha  -  Your Magic Touch Helene Smith  -  Sure Thing     Best Shows By Octogenarians And Nonagenarians:
Ramblin’ Jack Elliott – Zebulon, LA  / Bob Dylan  -  Pantages, LA / Marshall Allen (Arkestra)  -  Zebulon, LA / Swamp Dogg  -  Teragram, LA / Doug Kershaw  -  Zebulon,  LA / Sonny Green  -  Barnyard & La Louisianne, LA / Tommy McClain  -  Stowaway, LA
+++++++++++++++++++++++++++++++++
Brian Carpenter
Composer / Ghost Train Orchestra
My favorite recordings of 2022, in no particular order…also the most frequently played albums on my long-running radio show Free Association on WZBC in Boston. As I'm writing this I'm reminded that a lot of great records came out of bands from South London this year, across genres. 
The Comet is Coming - CODE Caroline - caroline Dry Cleaning - Stumpwork William Orbit - The Painter Akusmi - Fleeting Future
Electric Youth, David Sylvian, et al - A Tribute to Ryuichi Sakamoto - To the Moon and Back Portico Quartet - Next Stop The Smile - A Light for Attracting Attention Zola Jesus - Into the Wild Mary Lattimore and Paul Sukeena - West Kensington Lucrecia Dalt - Ay! Bjork - Fossora Tindersticks - Stars at Noon Original Soundtrack Kamikaze Palm Tree - The Hit Bitchin Bajas - Bajascillators Bill Callahan - YTILAER Thurston Moore - Screen Time Bill Orcutt - Music for Four Guitars Horse Lords - Comradely Objects Curha - Curha III
Sharon Van Etten - We've Been Going About This All Wrong Aldous Harding - Warm Chris Weyes Blood - Hearts Aglow Big Thief - Dragon New Warm Mountain I Believe In You Oneida - Success Brandon Seabrook - In the Swarm Jacob Garchik - Assembly Oren Ambarchi - Shebang The Lord and Petra Haden - Devotional Roedelius & Tim Story - 4 Hands Brian Eno - Foreverandevernomore Steve Reich - Runner Moor Mother - Jazz Codes Makaya McCraven  - Dream Another Sun Ra Arkestra - Living Sky Danger Mouse and Black Thought - Identical Deaths A Far Cry - The Blue Hour Nils Frahm - Music for Animals Mary Halvorson - Amaryllis Kronos Quartet, Van-Anh Vanessa Vo, Rinde Eckert - My Lai Attacca Quartet - Caroline Shaw: Evergreen
+++++++++++++++++++++++++++++++++
DJ Food
Music: Clocolan - Empathy Alpha LP (Redpan) Brian Eno - The Lighthouse (Sonos HD) King Gizzard &The Lizard Wizard - Omnium Gatherum LP (Flightless) Twilight Sequence - Trees in General: and the Larch 12" (Castles In Space) WTCHCRFT - Drugs Here 12" (Balkan Vinyl) Ghost Power - Ghost Power LP (Duophonic Super 45s) Dexorcist - Night Watch 12" (Yellow Machines) The Advisory Circle - Full Circle LP (Ghost Box) Fenella - The Metallic Index (Fire Records) S'Express & Daddy Squad - Music 4 The Mind (DL)
Podcasts: The Bureau of Lost Culture We Buy Records Oh God, What Now?
Gigs / Events: The Orb play U.F.Orb @ The Fox & Firkin, London Staying in a restored Futuro House, Somerset Fogfest @ Iklectik, London Funki Porcini's Lasarium @ Iklectik, London The Trunk Groovy Record Fayre @ Mildmay Club, London
Books / Comics: 99 Balls Pond Road - Jill Drower (Scrudge Books) Radio Spaceman - Mike Mignola & Greg Hinkle (Dark Horse) A-Z of Record Shop Bags - Jonny Trunk (Fuel) Mud Sharks - Dave Barbarossa Good Pop, Bad Pop - Jarvis Cocker (Vintage) House Music - Andy Votel (The Modernist) Defying Gravity - Jordan Mooney w. Cathi Unsworth 69 Exhibition Road - Dorothy Max Prior (Strange Attractor) Judge Dredd - Mike McMahon (Apex Edition) It's Lonely At The Centre Of The Universe - Zoe Thorogood (Image Comics) The Black Locomotive - Rian Hughes (Picador)
Films: Get Back (Disney+) Who Killed The KLF? (Chris Atkins) In The Court of the Crimson King (Toby Aimes)
36 notes · View notes
sinceileftyoublog · 8 months
Text
Pitchfork Music Festival 2023: 5 Can’t-miss Non-headliner Sets
Tumblr media
700 Bliss
BY JORDAN MAINZER
After four long years, yours truly finally returns to Pitchfork Music Festival. While the pandemic cancelled 2020′s iteration, contributor Daniel Palella filled in for 2021, and we entirely missed 2022 (I got married!), four years lacking Chicago’s most laid-back, yet forward thinking festival proved to be too many. While I can’t wait to see The Smile, Big Thief, and Bon Iver, I’d be remiss not to recommend these 5 can’t-miss non-headliner sets.
Tumblr media
Trevor Powers of Youth Lagoon; Photo by Tyler T. Williams
FRIDAY
Youth Lagoon, 4:15 PM, Green Stage
Last month, Trevor Powers released Heaven Is a Junkyard (Fat Possum) his first Youth Lagoon music since 2015′s Savage Hills Ballroom. If earlier, beloved Youth Lagoon records were miniature epics that embraced a sort of hazy nostalgia, Heaven Is a Junkyard is more subdued, soulful, and limited in scope. It’s also Powers’ most focused and best record, the deepest he’s dived into a world. In 2021, Powers lost his voice as a result of a horrific reaction to an over-the-counter medication, eventually losing 30 pounds and, temporarily, his ability to speak. As a result of the unfortunate circumstances, he went into a deep depression, but thankfully decided to focus his energy on Idaho, and ultimately, his songwriting and the return of Youth Lagoon. Heaven Is a Junkyard could be difficult to listen to, with images of blood-stained clothes and drug addicts sleeping outside on mattresses. It’s not because of Powers’ embrace of his surroundings. “Heaven is a junkyard / And it’s my home,” he sings on “The Sling”. His clear sense of empathy for the downtrodden shapes his familial perspectives, too, thankful for brotherly love, even if disguised as roughhousing, on “Prizefighter” and “Trapeze Artist”. And Heaven Is a Junkyard is musically adventurous, too, from the looped drums, handclaps, and cello of “Mercury” to the ghostly synth arpeggios of “Helicopter Toy” and disintegrating ambient instrumental interlude “Lux Radio Theatre”, which wouldn’t sound out of place on a Boards of Canada album. Live, expect to hear much of Heaven Is a Junkyard along with cuts from the first two Youth Lagoon albums.
SATURDAY
700 BLISS, 2:30 PM, Green Stage
One of our favorite albums of last year was the sophomore LP from 700 BLISS, the venerable duo of poet/musician Camae Ayewa (aka Moor Mother) and DJ Haram. Nothing To Declare, their first record for Hyperdub, traverses genres (techno, noise, ambient) and moods (serious and political, facetious and sarcastic). Get there early on Saturday for some heady words and beats in the sun!
Tumblr media
SUNDAY
JPEGMAFIA, 4:15 PM, Green Stage
In 2019, rapper JPEGMAFIA gave the most energetic set at Pitchfork. This year should be no different: Since then, he released one of our favorite albums of that year mere months later, a very good follow-up two years after that, and this year, a collaborative album with his favorite rapper, Danny Brown. He’s called the new one, SCARING THE HOES (Awal), a “practice album,” made with the SP-404--no Pro Tools--after learning it for a year. It certainly has that loose quality you’d think, alongside the exact amount of chaos you’d expect from the debut full-length join-up from these two. Of course, Peggy finds kinship in the deep cuts and the underground, from the underappreciated Bun B to old soul and funk, Japanese pop, and gospel. The samples and production are inspired. At the same time, Peggy knows he’s your favorite Twitter follow’s favorite rapper, so the title itself, referring to something a Very Online Man would say who thinks his taste is too esoteric for women, is tongue-in-cheek. “How the fuck we supposed to make money of this shit?” Peggy asks on the title track. “You wanna be an MC? What the fuck you think, it’s 1993?” The only thing better than effortless tempo changes, switches on a dime from maximalism to dreamy instrumentation, is self-awareness of his own idiosyncrasies. Bonus points for “God Loves You”, which juxtaposes a guttural, spirited gospel sample with the filthiest lyrics on the album.
Tumblr media
Sarah Tudzin of illuminati hotties; Photo by Seannie Bryan
illuminati hotties, 5:15, Blue Stage
It’s been a big past few years for Sarah Tudzin, the frontperson of LA indie rock band illuminati hotties. Their 2021 record Let Me Do One More (Hopeless) was released to acclaim, one of our favorites of that year. She contributed a remix to the deluxe addition of the latest Stars album as well as production to a few songs on boygenius’ the record. Best, she’s apparently finishing up her next record. Perhaps the first taste of it is “Truck”, released yesterday ahead of the band’s Pitchfork performance and tour with boygenius. It’s a slice of gentle, lilting Americana, a song about chasing your dreams versus learning to live with reality. Expect to hear it during the band’s set at Pitchfork, along with some rambunctious, hilarious back catalog jammers.
Tumblr media
Kelela, 7:25 PM, Red Stage
The brilliant R&B artist’s second studio album, Raven (Warp), is a culmination of a period of reflection following her debut album six years prior, Take Me Apart. Despite electronic dance music’s Black and queer origins, Kelela’s feeling restrained within the music world as it exists today, within its white, male hegemonic power structure. She’s keeping on anyway, and on Raven, she delivers a brilliantly paced back and forth between club jams and slow burns, beat-heavy tracks and ambient expressions. There are plenty of songs about relationships and the dissolution thereof, but Kelela can control what she can control: her artistic voice. “Through all the labor / A raven is reborn / They tried to break her / There’s nothing here to mourn,” she declares on the pulsating, zooming title track, as the instrumentation gradually and masterfully builds with sprinkles of piano and dramatic strings. And on standout “Contact”, Kelela captures a night out, from the come-up to the club or party itself. It’s a dance song that could have dominated the charts in an alternate 90′s universe. One thing’s for sure: It’ll be a highlight at this year’s festival.
2 notes · View notes
dustedmagazine · 2 years
Text
Kode9 — Escapology: Music From Astro-Darien (Hyperdub)
Tumblr media
youtube
Astro-Darien is a historical sci-fi multi-media “sonic fiction” created by Hyperdub founder Steve Goodman AKA Kode9 in collaboration with visual artists Lawrence Lek, Silvia Kastel and Optigram. It is named for the Darien Scheme, an ill-conceived publicly funded plan to establish a colony and trading post in western Panama in the 1690s. Its failure put Scotland on the verge of bankruptcy and was a significant factor in acquiescence to 1707 Acts of Union that subsumed the country into the United Kingdom under the control of Westminster. In the past two years, the Scottish government has signed off on the construction of spaceports on the Shetland Islands and the north coast of Scotland. Many hope that in time these facilities can become a conduit for space tourism and perhaps colonization. Taking these threads as a starting point and in anticipation of the referendum on independence proposed for 2023, Astro-Darien ponders the lessons of the past in the context of a reimagining of the future.
On Escapology Goodman introduces more beat-driven elements into the narrative in the hope the record will stand alone as a more familiar Kode9 production. It is not always a comfortable union. Passages of club-based rhythm and mechanoid agitation are interspersed between and within more ambient narrative pieces replete with the sort of sinisterly anodyne announcements one hears on planes, trains and presumably the tourist rockets of Bezos, Branson and Musk. Hubris, greed and decay lurk and erupt throughout. “Toxic Foam” is full of rust and bubbling sludge eating its path through erstwhile pristine landscape and architecture alike. “In The Shadow Of Ben Hope” mimics rockets overhead and after the proverbial countdown, the tectonic rumbling of vertical lift-off. It makes for a disjointed aural experience, the frantic beats, the clank and squeak of distressed rivets giving way to sections of sci-fi optimism and on “Torus” for instance the kind of wildly propulsive, technically intricate orchestration associated with Carl Stalling and Raymond Scott. 
Kode9 fans will enjoy club ready tracks like “Uncoil” and “Lagrange Point” and as with his previous work, the mastery of dynamics and the production values are to rights but there’s a sense the music cannot carry the weight of its associations alone. 
Andrew Forell
7 notes · View notes
abelkia · 1 year
Photo
Tumblr media
La playlist de l'émission de ce jeudi matin sur Radio Campus Bruxelles entre 6h30 et 9h : Burial "Strange Neighbourhood" (Antidawn EP/Hyperdub Records/2022) Tricky, Terry Hall & Martina Topley Bird "Poems" (Nearly God/Durban Poison/1996) Tindersticks "Chocolate" (The Something Rain/Lucky Dog/2012) The Black Heart Procession "A Light So Dim" (2/Touch and Go Records/1999) Max Roach (with The J.C. White Singers) "Motherless Child" (Lift Every Voice and Sing/Atlantic Records/1971) Gétachèw Mékurya "Tezeta" (Gétachèw Mékurya and his Saxophone/Philips/1972) PJ Harvey "Let England Shake (Demo Version)" (Let England Shake - Demos/Island Records/2008-2022) RICHARD DAWSON "Thicker Than Water" (The Ruby Cord/Weird World/2022) Julia Holter "Lucette Stranded on the Island" (Have You In My Wilderness/Domino Recording Company/2015) The Divine Comedy "Someone" (A Short Album About Love/Setanta Records/1997) Scott Walker "The Plague" (This Is How You Disappear - The Darkest Hour Is Just Before Dawn: 15 Big Hits/Universal Music Group/1967-2003) Bertrand Burgalat meets A.S Dragon "Follow Me" (Bertrand Burgalat Meets A.S Dragon/Tricatel/2001-2022) The Auteurs "How Could I Be Wrong" (New Wave/Hut Recordings/1993) Felt "Hours of Darkness Have Changed My Mind" (Forever Breathes the Lonely Word/Creation Records/1986) Trans Volta "Disco Computer" (7"/RKM/1979) Sparks "Never Turn Your Back on Mother Earth" (Propaganda/Island Records/1974) The Specials "Gangsters" (7"/2Tone records/1979) Otto Kentrol (Feat. Faceless) "No Mistakes" (No Mistakes/Modern Harmonic/1982-2022) Le Super Djata Band du Mali "Sisse Na Djolo" (En super forme Vol. 1/Numero Group/1982-2022) Honoré Avolonto & Orchestre Poly-Rythmo "Tin Lin Non" (Legends of Benin: Afro-Funk - Cavacha - Agbadja - Afro-Beat/ANALOG AFRICA/1983-2009) R.E.M. "It's the End of the World as We Know It (And I Feel Fine)" (Document/I.R.S./1987) https://www.instagram.com/p/Cmd_de-tf6t/?igshid=NGJjMDIxMWI=
1 note · View note
mitjalovse · 1 month
Text
youtube
Do electronic music labels actually dictate their signings? The answer is, of course, no, yet you have to check the founders of the label to understand why that feels like this sometimes. For instance, Steve Goodman of Hyperdub Records releases the type of tunes his house publishes, though he uses the name Kode9 for this. These are not vanity records, he does follow the ethos of his label as he moves within the strands of the electronica that somehow remained in the ethos of the 90's, yet the idiom also added a lot of technical innovations, which weren't possible at the time. One can claim this causes there's a strange melancholic disconnect present here, which does get to be heard mostly on another player of Hyperdub – Burial.
0 notes
djhamaradio · 1 month
Text
My Journey with Electronic music
In truth Hip Hop is fundamentally electronic music, and things like House, Techno, or Dubstep fall into the same category as these modern forms of electronic music that stand in contrast to analog-based Rock N Roll, or Jazz derivatives. My first so-called electronic song from memory is the track Pump Up The Jam, which is a hybrid of House, Techno, and Hip Hop.
youtube
For some reason, the energy and pulse of this song really gravitated to me and grabbed my attention back in 1991. This song that played on a state-run radio station in Zambia opened the floodgates to a universe of sonic possibilities, also dominating the airwaves you had these beautiful Jazzsoul fusion cuts in the form of performers like Soul-II-Soul.
youtube
Dance music as a deliberate act first came into my life around high school, when a series of CDs proliferated my high school, CDs that represented a paradigm change that came from South Africa that would be passed around at my boarding school. The compilation was made up of House, Techno, and Dance music coming from the USA and Europe. Please reference the below which is a whole video rip of what one of those CDs sounded like, in 1999.
youtube
It was an eclectic mix of dance styles from New York 90's club style to stuff reminiscent of DJ/Producers like Armand Van Helden or decadent garbage pop shit like The Venga Boys, Alice Deejay, or Darude, all shit that you would never catch me listening to now but back then we would go nuts too in our boarding rooms blasting this shit while doing errands on weekends. Some good stuff trickled in that I am not as embarrassed to say I fucked with like Daft Punk, I liked Modjo, and the group Stardust.
youtube
By the time I left High School and came to college in the USA, i was still listening to a lot of that stuff but in my first few years here it all fell to the side and I was locked in listening to Jazz, Hip Hop, Soul and Afircan old stuff, the change came when all the electronic blogs started really giving me a lesson on the true history of dance music and letting me know the rure origins of this music Before that I always sort of just assumed Europeans invented this shit, when in fact it all was born in the black clubs in New York, Chicago and Detroit, it was around this time that i first heard Underground Resistance, Moodymann and heaps of all this beautiful stuff that just blew my mind. At the same time UK garage which I had heard of back home but hearing morph into harder agresesive dubstep, and post step sounds again had me fully immersed in these stylings. I loved record labels like Hyperdub, and at the time I would download radio shows by DJ Mary Ann Hobbs out of the UK and hear all this surreal sounding dark dubstep, and experimental stuff. And of course all the lef- sounding stuff coming out of theLow- End Theory parties, only added to my complete embrace of a far bolder and edgier conception of electronic music and this was happening in my early 2'swhene I was jamming this stufi at my college radio show to the confusion of a few people in the college town I was at who thought I was nuts.
youtube
It was also at this time that Planet Mu released Bangz and Works a compilation of a new frenetic sound coming out of Chicago a reworking of Detroit Ghetto Tech into a style that had Hip Hop's architecture but in favor of the dancefloor. This took me in yet another direction, and trying to connect the dots with all manner of black electronic sounds be it Jooking in Memphis, Footwork in Chicago, or New Jersey Club, it is an exciting time to listen to electronic music because you have it coming from black people and in all forms from around the world be it Gqom, Amapiano, Bailie Funk or Kuduro type stuff coming out of Portugal. I got to thinking about this because someone i know brought up that I really liked Alice Deejay, and I was like wow I used to love that crap and you couldn't catch me listening to that ever, but it speaks to how to taste for some is an every changing exploration of sonic possibility.
youtube
For most folks, this tireless exploration of new styles might seem tedious but It is very rewarding to come upon some fresh music you didn't know existed that completely changes how you hear a particular sound and style. Reading through the article below on DJ Rashad you get the sense that these guys in Chicago went journey of their own, vibing with Detroit Ghettotech, and experimenting until they found a sound that was all its own.
I have friends who have never quite left what they used to listen to in their 20s or relly on Spotify algorithms or radio to hip them to new shit. For me music is about immersing ones self in the culture of music. Meaning when I get up in the morning I check my favorite blogs, record stores, youtube and discogs tirelessly looking for my next fix. It can seem intense but its very grattifying.
0 notes
bluetapes · 7 months
Text
Tumblr media Tumblr media Tumblr media
Part 3 of a series interrogating the track titles for Kaijupop, the debut album of my Soft-Bodied Humans project.
The album is available on LP and digital from @gangofducks at https://gangofducks.bandcamp.com/album/kaijupop
Track 3: Globe
--
Globe (グローブ Gurōbu) is a Metalferd kaiju created by Toho that first appeared in episode 14 of the 1996 tokusatsu kaiju series, Guyferd titled To Protect a Small Life.
Globe is a Metalferd sent to retrieve a vial of Fallah stolen from Crown during the downfall of the organization under Mr. Bikross. He tracks it down to a hospital where he finds it and tries to terminate the ex-crown scientist turned doctor, but he is stopped by Detective Yuji Nakano. He tries to return again, but is once again forced away. The third time he tries he fights with Guyferd and is permanently defeated.
--
Globe was one of the earliest tracks recorded for the kaiju project. I was listening to a lot of Hyperdub at the time so I think that influenced the beat, although it ended up becoming its own thing - a sort of dark, techno-ish grime song with industrial elements.
Japanese grime MC PAKIN is a superbly versatile rapper and he really makes this piece his own. He also had his own ideas on how to make my original arrangement work better with his vocal, which helped take my original stomping, awkwardly lurching sketch and turn it into something of a mini-anthem.
In the review of the LP in the current edition of @thewiremagazine, the reviewer singled out Globe and PAKIN's rhythmic prowess as a particular highlight
1 note · View note
ruinedholograms · 2 years
Photo
Tumblr media
Yasuragi Land (2021)
4 notes · View notes
cokeordie · 7 months
Text
Quarta330 - Digital Lotus Flower
0 notes
days-of-steam · 8 months
Text
Days Of Steam 003: Deejaygee
(Mix released August 9, 2021)
Blistering, mind-bending geometries from @deejaygeejaygee that run the gamut from sludge to full speed ahead, and much of it either self-released or from smaller labels outside the usual centers of production (NYC/LDN/BER)
"It's a celebration of percussion, dancing and global collective ecstasy."
Excerpt from “School of Rock Hawaii 5-0 Drum Fill” Y.a.M.A - Circle [GORGE.IN, 2021] Amor Satyr - Delight #2 [Wajang, 2021] Unperson - Mind Distract [Only Ruins, 2019] Pev & Kowton - Junked [Hessle Audio, 2013] Tribal Brothers & DJ Polo - The Problem [Livity Sound, 2021] Yak - Ocean Floor [3024-FYE2, 2018] Amazinggaijin & Lighght - Cacophonie [All Centre, 2021] Excerpt from “Krautrock: The Rebirth Of Germany” Guedra Guedra كدرة كدرة - Uggug [On The Corner, 2020] Henzo - Trickery [Self-released, 2020] Indus Bonze - ゴルガンツ GorGantz [Self-released, 2021] WULFFLUW XCIV - One54 [Hakuna Kulala, 2020] Rey Sapienz & The Congo Techno Ensemble - Santonge [Nyege Nyege Tapes, 2021] Beneath - Shambling [Hemlock, 2021] LAPS - Who Me? (Duppy Gun Remix) [DFA, 2018] Horsepower Productions - Boogaloo [Tempa, 2011] Nazar & Citizen Boy - 2 African Sickos (Scratchclart Remix) [Hyperdub, 2020] Manix - Special Request (DJ Guy Version) [Sneaker Social Club, 2020] Farsight - Renegade (Interplanetary Criminal Remix) [Scuffed Recordings, 2021] Suchi - Gula I Deg [Ganzfeld Records, 2021] Tessela - Hackney Parrot [Poly Kicks, 2013] Excerpt from “Bernard ‘Pretty’ Purdie presents The Legendary Purdie Shuffle” Kush Jones - Keeps Playing With The Breaks [Self-rleased, 2021] Dizzee Rascal - Jus A Rascal [XL, 2003] Circa96 - Cave Dweller (Dwarde’s Caving In Remix) [Disrupt Records, 2020] Bone Head - Fantasy Violence Anthem [Self-released, 2021] Morwell - There Is No Time (DJ FLP Remix) [Self-released, 2021] Es.tereo - Drifter Dub [YUKU, 2021] M-Beat & General Levy - Incredible (Instrumental) [Renk, 1994] Nilotika Cultural Ensemble - Kekusimbe [Nyege Nyege Tapes, 2021]
0 notes
oathdublin · 8 months
Text
Off The Record #2 | Kode9 & Burial 'Infirmary/Unknown Summer' (fabric Originals)
Tumblr media
Infirmary / Unknown Summer
Welcome back to 'Off The Record', a bi-weekly segment focused entirely on bringing you the best new music.
Friday saw the release of a one-off split single from 'Hyperdub' boss Kode9 and Burial on fabric Originals [FRO10].
Run it back to 05 when Burials 'South London's Boroughs' EP hit the press and you'll discover the roots of this longstanding relationship, one responsible for some of the most innovative and influential sounds to come out of the UK, ever.
Now 18 years later, having contributed to various records together and collaborated for the likes of the 'fabricLive 100' mix [2018] and Mary Anne Hobbs' 'ICONS Mix' [BBC 2010] - the pair combine forces once more for the latest edition to the fabric sub-label.
The player leads with the soulful sounds of 'Infirmary'. Littered with interesting twists of tempo, vocal cuts and eclectic percussive rhythms - it as a testament to the broad array of sounds we've heard from Kode9 over the years, both familiar and unpredictable.
The flip side features 'Unknown Summer' a near 10 minute escapade that can only be described as "Burialesque". Atmospheric soundscapes, blissful bass, and in true Burial fashion, excellent sampling - form this excellent B side, one that fondly reminded me of the sounds of 'Untrue' [2007] an LP that redefined the possibilities of a club record and changed the way I consumed and created electronic music to date.
Editors Note: Upon first listen, 'Unknown Summer' went slightly over my head. I quickly and impatiently labeled it 'formless', but I was wrong (surprise, surprise)... After I parked my preconceived notions and gave it a proper listen, it came through - as Burial records have a habit of doing. I concede that my predispositions are more of an adulation than anything else - for the best music has always left me questioning form. You win this time Mr. Bevan, touché...
Stream | Buy
1 note · View note