Rustie’s 2011 album Glass Swords was a release that took inspiration from video games, grime, Japanese prog-rock, Detroit techno and much more to create a warm and thrilling sugar-rush of an album. Green Language is equally seismic. A long-player with birdsong at the heart of its inspiration, it sees him returning on Warp Records with more glistening vistas and adrenaline-charged electronics. Featuring collaborations with Danny Brown, Redinho, D Double E and Gorgeous Children, it’s yet another unbeatable full-length from the producer.
Footwork producer and Teklife crew member DJ Paypal follows up a 30-track album of bootleg Drake edits and the Buy Now EP for LuckyMe with Sold Out, a mini-album for Flying Lotus’s Brainfeeder label. Sold Out hits hard and hits fast, setting jazz, funk, and Phillip Glass-esque minimalism to his breakneck 160bpm tempos. You get a sense of DJ Paypal’s barmy sense of humour on tracks like ‘Awakening’, but there are moments where he channels a darker energy like on ‘Slim Trak’. The album also features collaborations with artists from Chicago (DJ Earl and DJ Taye), Serbia (Teklife affiliates Feloneezy and Jackie Dagger), and France (Tielsie) amongst others.
Grubbing around the liminal edges of hip hop, ambient and electronic jazz frameworks, he yields a frayed patchwork of ideas best suited to low volume listening as a sort of Satie-esque wallpaper music, finding contemporary parallels in the faded designs of Huerco S’ Pendant output, or the dusty flickers of Bellow/Giuseppe Ielasi.
It’s a sound to put on in the background and quickly forget you did so, allowing it to perfuse your listening space like some experimental olfactory sonics or a series of subtly morphing screensavers for your living room.
A2 How I Get It
A3 Paint It Blue
A5 Baptize (Kingdom’s Honest VTX)
B1 Paint It Blue (Rizzla Remix)
B2 How I Get It (Leonce Remix)
B3 Honest (Divoli S’vere Remix)
B4 Paint It Blue (Ikonika Remix)
B5 How I Get It (Helix Remix)
“In the process of completion, any album not only reveals what it has become but, maybe more importantly, what it hasn’t become. All Melody was imagined to be so many things over time and it has been a whole lot, but never exactly what I planned it to be. I wanted to hear beautiful drums, drums I’ve never seen or heard before, accompanied by human voices, girls, and boys. They would sing a song from this very world and it would sound like it was from a different space. I heard a synthesiser which sounds like a harmonium playing the All Melody, melting together with a line of a harmonium sounding like a synthesiser. My pipe organ would turn into a drum machine, while my drum machine would sound like an orchestra of breathy flutes. I would turn my piano into my very voice, and any voice into a ringing string. The music I hear inside me will never end up on a record, as it seems I can only play it for myself. This record includes what I think sticks out and describes my recent musical discoveries in the best possible way I could imagine.” – Nils Frahm
“CID RIM is Clemens Bacher: writer, producer & drummer from Vienna. Old friends with Dorian Concept and The Clonious, and co-head of Affine Records. Clemens has championed a hybrid stream of new electronic music from Austria which blends influences of hard bop, krautrock, the beat scene & electronica. A post-post-modern form that still denies simple category.”
Various – Deutsche Elektronische Musik 3 (Experimental German Rock and Electronic Music 1971-81) LP
This latest instalment in Soul Jazz Records’ successful Deutsche Elektronische Musik series delves deeper into the German nation’s vaults to bring a fascinating new collection that again brings together a selection of classic German electronic and rock groups, including Neu!, Cluster, Popol Vuh, La Düsseldorf, Agitation Free, alongside a host of rare tracks by lesser known artists which includes Michael Bundt, Bröselmaschine, Dronsz, Achim Reichel and others.
The music of Deutsche Elektronische Musik 3 ranges from the introverted pastoralism of Hans Joachim Roedelius and Bröselmaschine, to the angular and futuristic electronic experimentations of Klauss Weiss, Pyrolator, Deuter, Michael Bundt and others, to the proto-punk of La Düsseldorf and the heavy space, progressive and cosmic rock of Missus Beastly, Niagara and Dyzan.
The music on Deutsche Elektronische Musik 3 was all recorded in the 1970s up to the early 1980s, at a time when forward-thinking German electronic and rock groups were searching for a new musical identity in order to separate themselves from both the cultural legacy of post-world war two Germany as well the ‘cultural imperialism’ of USA and UK rock. In this process German groups created some of the most unique and inspired music, the defining motorik beat alongside a host of ethno-musical influences from far afield – including Turkey, India, Brazil – as well as the musical and futurist possibilities of developments in electronics and technology itself.
Deutsche Elektronische Musik 3 is released as a heavyweight 3xLP, deluxe double CD pack and digital release. The new extensive sleevenotes are by David Stubbs, who is the author of the acclaimed book, ‘Future Days: Krautrock and the Building of Modern Germany’ (Faber & Faber).
3 x black 180g 12″ in artworked 3mm spined sleeves all housed in a rigid board outer slipcase. Half speed cut by Matt Colton at Alchemy Mastering.
Includes 2 x 12″ poster inserts featuring exclusive artwork by KC Woolf Haxton and story adaptation and calligraphy by Kenturah Davis
Download MP3 Code sticker on sleeve of Volume 1 – The Plan
Featuring Flowdan and Killa P / Irah, The Bug releases a new big hittin’ double header. Following last years D Double E / Riko Dan face-off, ‘Box’ / ‘Iceman’ – The Bug has invited Flowdan, and Killa P & Irah to get grimey on their respective Riddims.
Making her recording debut just two years ago in 2013, Helena’s first release was a 3-track EP – Actio Reactio – on Actress’ Werkdiscs imprint. She has since partnered with PAN (as Black Sites alongside F#x), Lux Rec, Bunker sublabel Panzerkreuz and Texan cassette imprint Handmade Birds to share her overtly analogue excursions into techno’s shadowy fringes, improvised and recorded in her bedroom studio in Hamburg. Fully embracing her love of hardware, Helena joined James Dean Brown’s legendary electronic improv outfit Hypnobeat (founded back in 1983) in 2013, blazing a trail across Europe with their intense polyrhythmic jam sessions on the TB-303, TR-707 and TR-808.
“I have the feeling it’s more one-to-one – you do something and then the machine reacts. The machine has its own mind too, so it gives something back.”
Ten tracks deep, Discreet Desires is the embodiment of Helena’s deep-seated beliefs about music as a radical force and unifying movement. Something that is evident from her growing stature as a selector and her enthusiasm for musical subcultures from punk to nu wave, industrial, krautrock and avant garde electro – all of which were rooted in raw experimentation and existed in polar opposition to the perfect, polished mainstream.
Soul Jazz Records’ new Space, Energy and Light is a collection of music by early electronic and synthesizer pioneers (from the 1960s through the 1970s), mid-1970s proto-new age gurus and 1980s guerrilla D-I-Y cassette-era electronic artists, spanning in total over a near 30-year time frame.
Recorded on the Klavins M370 in 2014 as an improvisation single take without any overdubs.
The 370 is situated in Tübingen / Germany, 1.8 tons in weight, 3.7 meters high, its longest strings are about 10 feet in length.
Chilled leftfield Hip Hop / downtempo / Lounge-Electronica related album from Dean Blunt alias.
Jazz-trained Margo Guryan released Take a Picture in 1968 after about a decade of songwriting – with credits including Ornette Coleman, Don Cherry and Harry Belafonte, among others. The Pet Sounds acolyte’s lone full-length is an early prototype for countless lounge and dream-pop excursions, and bridges the gap between Burt Bacharach and Belle & Sebastian. The hazy production is loaded with horns, strings and sumptuous harmonies; standout “Sunday Morning” became a Bobbie Gentry and Glen Campbell duet. The album received critical praise, but Guryan had no aspirations to tour. “I didn’t want to be a performer,” she said in a 2011 interview. “I wanted to be a songwriter… You needed a manager, an agent, a lawyer, an accountant … people telling you what to wear, what to say, who to be. The whole thing just didn’t appeal to me.”
United States of America, led by respected modern classical avant garde musician Joseph Byrd, cut a wide swath through the 1968 world of rock, just then comfortably settling in to its backwoods dreams of country-rock to find the debut U.S.A. album howling like an infant terrible on its front doorstep. At the center of the U.S.A.?s fiercely experimental universe were the icy-cool vocals of the beautiful Dorothy Moskowitz, keeping this tumultuous sound from spinning out-of-control in every direction. Almost predictably, the U.S.A. disbanded before it could record a second album, but its brilliant, self-titled effort was certainly one for the ages.