New York-based conceptual artist James Hoff returns to PAN with Blaster, a document of his explorations of computer viruses as agents within the composition process. Specifically, Hoff used the Blaster virus to infect 808 beats and then utilized the mutated results as building blocks for seven new compositions. Hoff's interest in computer viruses lies in their ability to self-distribute through (and ultimately disrupt) networks of communication and Hoff's agency as an artist centers on placing these parasitic forms into pre-existing genres, such as dance music. Blaster is a timely exploration of the infectious qualities of sound, and how it too, as a carrier, makes its way through social networks, reduced to bits and programmed to infiltrate and replicate. "Viruses, like art, need a host. Preferably a popular one." Interested in ways in which the virus works could mutate and spread socially, the first side of Blaster contains these sonic presentations, and the second houses all of the artist's infected samples and serves as a scratch record for DJs, an object of utility, and ultimately a provocation, mobilizing its new hosts as a point of potential transmission. Blaster is a logical progression from Hoff's PAN debut LP How Wheeling Feels When the Ground Walks Away, which dealt with aural documents of riots and disruptions, and the record is part of a larger body of work by the artist that also includes virus paintings.
It was the discovery in Australia of a 1932 photograph of Robert Curgenven's grandfather -- whose grandfather in turn had emigrated from Cornwall to Australia back in the 1800s -- which was the inspiration that brought Sirène together. Five generations after that first migration across the ocean, Robert Curgenven had been the first of his line to return to the Atlantic peninsula after many years in central and northern Australia. In Cornwall, living amongst the familiar climes of wild country, he'd returned also to his first instrument, the pipe organ, where his ideas about composition, pursued since his earliest pieces made over three decades before, were consolidated though hours of recordings in centuries-old Cornish churches to become the selection of works etched on Sirène. In part a companion piece prefacing a visceral forthcoming album about settler colonialism, Sirène proves just as visceral in its own right. As with the Turner painting, "Snow Storm - Steam Boat Off a Harbour's Mouth," that adorns the back cover and whose story is at the heart of an eponymous track which bodily charts this myth of biography, Sirène sends listeners across roiling oceans billowing humid air, beneath plunging coastlines. Amid this elemental immersion, Curgenven asks what is it to belong to a land, or even to this ever-changing country? Cornwall has been home to thousands of years of tin mining, with a tin trade dating back beyond the Bronze Age and the Phoenicians. With a colonial history of its own, empires around and within it have come and gone like its rugged granite cliffs, which once stood miles away in the days of Cornubia. Like that coast, the citizenry has remained in a slow process of transformation -- waves of imperialism wash over and across Cornwall, as they did on Caliban's horizon in his own Tempest. Sirène is not a kind of nostalgia or looking back, nor a looking forward into an imagined future, but instead it views time, lineage, and nationhood as a process and a continuum of change. Pressed on limited clear vinyl.
Blade Runner Original Motion Picture Soundtrack
2014 repress."The Blade Runner soundtrack was composed by Vangelis for Ridley Scott's 1982 film, considered one of the finest sci-fi movies ever made. It is mostly a dark, melodic combination of classical compositions and synthesizers which mirrors the futuristic film noir envisioned by Scott. The soundtrack holds legendary status and at the time was well-received by fans and critics including Best Original Score nominations for a BAFTA and Golden Globe yet, except for a few cuts, it was not released until 1994. The movie remains a classic film with a long list of popular movie stars including Harrison Ford, Daryl Hannah, Rutger Hauer, Sean Young, and Edward James Olmos, most of whom appear on this record in movie dialog samples mixed into the 12 tracks of nearly one hour of music. Vangelis makes each track flow into one another. The soundtrack features vocal contributions from Demis Roussos and the sax solo by Dick Morrissey on "Love Theme." The gatefold jacket includes many colorful stills from the film. Blade Runner is a timeless classic on film and now on 180 gram transparent red vinyl."
LP version. 180 gram vinyl. Includes full album on CD. "The notion that Jochen Irmler and Gudrun Gut would one day merge the best of their two worlds was never quite to be expected. We hear Irmler's meandering, wistfully psychedelic organ sound, seeming to come from a different era. And we hear Gut's reverb-laden, whispering, breathy voice as she sings: 'Sonnenbrille auf, wir gehen zu den Sternen/Sonnenbrille ab, wir tauchen tief hinein' (in the track 'Auf & Ab'). Both approaches to music -- the Krautrock-informed, epic willingness to explore on the part of Irmler; the structured and technoid Berliner discipline (which is practically a contradiction in itself) of Gut -- are conjoined in glistening beauty on this collaborative album 500m, recorded at the Faust studio in Scheer in Autumn of 2013. Analog and digital, town and country, past and present, elliptical melodies and linear beats -- all complementing each other in a most cosmic manner. Gudrun Gut: 'I had asked Jochen if perhaps we might like to work together. Both with Faust and his solo works, his approach is more improvisational. Improv is not exactly my thing; I don't work that way. I tend to construct something, then refine what's been recorded using the computer, until everything fits. But Jochen's organ-playing has always fascinated me. He sits down at the organ and plays and plays, while I tend to dissect everything, then deconstruct and collage things.' Jochen Irmler: 'A few years ago, when she played at our Klangbad Festival, I asked Gudrun if she might like to make an album with me. For more than a decade, I have been following a concept that merges electronics and percussion -- and most collaborations were solely among men. I wanted to break with that and asked Gudrun if she would like to complement my organ improvisations. And in her case, she doesn't play the drums, but programs the drums.' In fact, the clash of these two schools is especially constructive. Some pieces consist only of snippets and cut-ups of Irmler's organ, which are held together by Gut's programming and her voice. In other tracks, the organ plays through. The division of labor is interesting: During the initial two sessions in Scheer, Jochen Irmler was at the helm, while Gut contributed rudimentary grammar -- simplistic backing beats, rough architectures, moods. Back at her own studio in Berlin, Gut refined and deconstructed the sometimes up to 30-minute long original improvisations. The roles were essentially exchanged, with Irmler listening from a distance via file-sharing. When listening to the album with that in mind, one can guess how much editing is behind these tracks. If two such esteemed musicians as Jochen Irmler and Gudrun Gut not only declare their mutual trust, but also live it out within the framework of a co-production, as described with the example of their working method, the result is per se relevant, because it is a historical document. That it also sounds so incredibly inspired, of course, is a result of these coordinates, but by no means self-evident. Why might it be so? Where does the magic of these recordings come from? Gudrun Gut: 'I was constantly dizzy during production in Scheer. I asked Jochen why this could be. He replied, 'We are 500 meters above sea level here.' That immediately made sense to me, and at the same time explains the album title." --Max Dax, Warsaw 2014
Double LP version. The next release on Diagonal is the latest album from Texas-based demolition artist Craig Clouse aka Shit & Shine. Titled Powder Horn, it follows-up Clouse's 2013 Diagonal debut 12", which channeled his shape-shifting sound into sharp shocks of mangled club music. On this new album, his first full-length since 2012's Jream Baby Jream, Clouse voyages still deeper down his own sonic wormhole. Its raucous slabs of deviant funk, wiry disco and burnt-out acid are sculpted to soundtrack strung-out dancefloors and their seedy early-hours aftermath, yet they still bear crucial traces of Shit & Shine's history in noise rock. Drums bound, crash and detonate to drive the music forward in fits and starts, their sound veering from the chest-busting thud of a techno kick to the hollowed-out clatter of a live punk band. Writhing acid lines do battle with taut, spidery guitar motifs, wrenching the momentum abruptly sideways. "Hiss" is bare-chested post-punk, strutting across the stage, caked with sweat and fizzing with static interference. Deeper into the night, "Acid Minor" wrenches up the gear to explode into full-bore acid techno, with Clouse repeatedly hammering the brakes and triggering space itself to distort around you. This provocative yet playful approach has long been a defining characteristic of Clouse's music. Over the past decade he's gained a reputation for Shit & Shine's remarkable live shows -- mesmerizing blasts of rhythmic noise featuring multiple drummers -- as well as a string of albums exploring starker noise rock and industrial-infused sounds. His recent shift towards more club-centered music, then, makes sense. Both Powder Horn and his previous Diagonal EP further hone his fascination with the energizing effects of rhythm on the mind and body, while retaining the unpredictable and confrontational nature that's always made Shit & Shine such a wild proposition.
If Bill Evans brought a kind of muted, ingeniously subtle body of innovations to jazz piano, then perhaps his only parallel in the realm of jazz guitar is Jim Hall. When they joined forces for this session, they sounded fantastic, with piano and jazz falling together into a pool of streaming improvisation on mostly slow-tempo pieces. The pair hit such a high mark with this recording that it reaches the intellect and the emotions at precisely the same instant. Limited edition vinyl with ACV (Audiophile Clear Vinyl) quality. Includes two bonus tracks: "Stairway to the Stars" and "I'm Getting Sentimental Over You." Housed in a gatefold sleeve.
Infrastructure presents VEX/DMO, three tracks from two of David Sumner's lesser-known alter egos. Produced between '98 and '99, the tracks were originally released separately on two different 12"s, and now come together, remastered. "VEX-1" is Sumner's rightful slice of historic Brooklyn house pie. The DMO sessions were a nod to the more spaced-out, string-laden deep house that resonated out of Chicago towards New York. Both "Fifteen" and "Movement" offer a rare chance to hear another side of the producer now known best as Function. The original pressing was also one of legendary East Village record store Dancetrax's biggest selling 12"s of that era.
Double LP version, featuring the seven tracks from the 25-track CD that are exclusive to this compilation. Exciting new tracks from some of Kompakt's most cherished artists - such as Superpitcher's dreamy "Delta," Saschienne's neon-lit "Horacio Delirium," the Tobias Thomas and Michael Mayer-helmed "Unter Holzern," Voigt & Voigt's cybernetic ditty "Tischlein Deck Dich," The Modernist's pop-infused "Die Fette Gazelle and the Hidden Sixpack" and Jürgen Paape's "Heuriger," the long-awaited (and slightly insane) follow-up to his Total 10 classic "Ofterschwang," and the Amsterdam duo' Weval.
Vinyl LP of instrumentals of tracks from the Souls of Mischief album.
Last sampler release from DJ Sprinkles' remix collection Queerifications & Ruins (MUSIQ 042CD). Here are three unreleased Sprinkles remixes for Hard Ton's "Food of Love." Enjoy timeless Sprinkles house.
"Guitarist/vocalist Paul Ngozi's debut album -- under the name Ngozi Family -- is an important record: not just in the Zamrock genre, but in the global rock canon. Day of Judgement is an introduction to the most intense, raw and inimitable golden era Zamrock recorded, as it paved the way for a dozen Paul Ngozi and Ngozi Family releases (the most famous being drummer Chrissy Zebby Tembo's My Ancestors) that straddled the line between funk and punk, of driving hard rock and Zambian folk melodies and rhythms. Day of Judgement was released in 1976, the same year as other, now famous, Zamrock albums, from Witch's Lazy Bones!! to Rikki Ililonga's Zambia. But it sounds like none of its counterparts. Part of that stems from its frenzied primitivism, the Ngozi Family's attempt to overcome a lack of musical acumen with sheer force of will. That will allowed Paul Ngozi to overcome a humble upbringing to become the most unlikely combination: Zamrock's most beloved star in its brief but now-well chronicled arc; the only musician to maintain his fame and recording prowess in the dark ages of the '80s; an inspiration to not only aging but young Zambians -- and now others, beyond Zambia's borders. But one cannot imagine Paul Ngozi without this album, a full-on aural assault that sounds as wild nearly forty years after its release as it must have sounded in the developing Zamrock landscape from which it emerged. We listen to this anachronistic yet prescient album now as a wholly original, completely unpredictable album in line with those from mavericks from across the world -- from the Ramones to the Sex Pistols to Death. And, though it's been over two decades since Paul Ngozi's passing, his voice and vision still seem exciting, powerful, unique, unvarnished, new. Packaged in a deluxe hard cover case book."
Jimmy Billingham returns to Opal Tapes with Holo Earth, the first HOLOVR 12". The two sides are comprised of blended suites covering Billingham's past working with tapes and hardware into a future of more complex composition and convolving sample work. At times the record is sweet, drums bounce and bip with filigrees of synth whirling through like wind in a bottle. At other points the record empties and the lonely pulse of Venn Rain (Jimmy's earlier project) is felt most strongly. Estranged and blue-lipped, the field recordings of alien environments litter the blur emerging. A haunting listen.
Lee Gamble is a UK-based artist and electronic music producer with roots in the original jungle-techno and extreme computer music fields. The Kuang EP heralds the release of Gamble's keenly-awaited 2nd LP KOCH with three tracks of dissociative ambient/techno. "Kali Wave" opens with a bittersweet breakbeat roller sounding something like early AGCG playing in a hall of mirrors, whereas "Mimas Skank" diffuses oily acid and dry dub techno inna dancefloor wormhole, and the detached ambient drift of "Girl Drop" rends a gasp of post-rave bliss into 12 minutes of spectral sublime or precipitous dread, depending on your perspective.
Credited with introducing the cello to jazz, Fred Katz had an illustrious and varied career in music -- performing with the legendary Chico Hamilton groups of the 1950s, scoring films for Hollywood, teaching ethnomusicology, and working as an A&R director for Decca and Pacific Jazz. This 1957 release is one of his first LPs as a leader, and is heavily influenced by his recent conversion to Zen Buddhism. Featuring help from Chico Hamilton on drums and Paul Horn on flute and clarinet, Zen: The Music of Fred Katz is an extraordinary journey: the Orient filtered through a cool jazz foundation with stunning performances all around. A 1950s West Coast jazz classic reissued on 180 gram vinyl.
"Esnard Boisdur is one of the great voices of Gwo Ka ? the folkloric rhythm of Guadeloupe. Frankie Francis & Simbad flip hIs 1991 track 'Soufwans' (Sufferance) into a groove that combines hypnotic percussion and mournful vocals with Detroit-inspired synths and a deep deep bassline.:
"Waxwork Records proudly presents the fully remastered release of Chuck Cirino's original score to the B-Movie horror classic, Chopping Mall, directed by Jim Wynorski and starring scream queens Barbara Crampton and Kelli Maroney. This release marks the first time vinyl release of Chopping Mall, featuring liner notes from composer Chuck Cirino and the film's writer, Steve Mitchell. Packaging details include 180 gram fluorescent pink vinyl housed in a heavyweight tip on jacket with film laminate gloss finish. Full package artwork including a 12" x 12" inserted art print has been created by Australian artist duo We Buy Your Kids."
NICK THE RECORD
Under the Influence Volume Four: A Collection of Rare Soul & Disco
Double LP version in gatefold sleeve. Features 9 tracks from the 21-track double CD: Jean Adebambo's "Say That You Love Me" (DJ Nick The Record Re-Edit), Katunga's Palo Bonito (DJ Nick The Record Re-Edit), Blackway & Helene's Music for Us (Instrumental), Betty & Beverly Prudhomme's Tut Tut Twins (DJ Nick The Record Re-Edit), Skye's Ain't No Need (DJ Nick The Record Part 1 & 2 Re-united Re-Edit), Boogsie's Can't You See Me, M.C. Roscoe's Feel the Beat (Instrumental) (Nick The Record Minor Tweek Edit), Santth's Do You Want Me Baby, Like I Want You, and The Family Tree's 150th Psalm. Following on from the phenomenal success of the Italo House and Remixed with Love compilation plus more Joey Negro-compiled albums including GoGo Get Down, Backstreet Brit Funk, Destination Boogie and the ever-popular Soul of Disco series, Z Records continues to release high-quality compilations filled with lesser-known disco, funk and boogie. Now it's the return of the highly-regarded Under the Influence series with volume four compiled by Nick The Record. "My whole life has revolved around records. I was buying hip-hop and house in the '80s as it was released and I got heavily into tracing the steps back through breaks and sample sources that were used in hip-hop records. I also joined the dots between disco & modern club & house music & spread my music explorations from rare groove to rare disco. There were very few people interested in this vein of music history at the time & even fewer as obsessed as me, so when the re-emergence of disco exploded, I was well ahead of the curve, not only in collecting but historical knowledge. The best thing about record collecting is it never ends, and after 35 years of buying, after 25 years of selling & playing records, there is still old stuff to discover & new releases to endeavor to keep up with. So as something of an expert in all things disco I get quite a few offers to release compilations, but as a record obsessive, my natural hoarding mentality makes me cautious to give up the goods. As anyone who's been aware of my record-selling web site www.djfriendy.co.uk over the last 10 years and my paper sales lists (now that's old school) for more than 10 years preceding, I could easily put together a compilation of the rarest disco & boogie 12"s, and there are, of course, some of those included, but I wanted to share more than that here. I feel this Under the Influence series offers the chance to put together a more personal comp, which reflects the many different flavors of my taste & my collection & gives you a feel of my DJ style at the same time." --Nick The Record, May 2014
Here it is, Deadheads, the ultimate "Dark Star" is now on vinyl. Deluxe audiophile pressing cut in Toronto under the watchful ears of John Oswald. Heavy-duty triple gatefold jacket includes liner-notes by musicologist Rob Bowman featuring interviews with Jerry Garcia, Phil Lesh, and Robert Hunter, plus two "time maps" which chart the source concerts of "Dark Star." Music performed by The Grateful Dead (c) Grateful Dead Productions Inc. & Ice Nine Publishing Inc. Taken from over 100 performances of "Dark Star" recorded between 1968 and 1993. Built, layered and "folded" to produce one large, new re-composed "Dark Star." Original recordings of the Grateful Dead in performance have been processed using Plunderphonic techniques.
DJ at Berghain's forerunner Ostgut from the late '90s, and now resident at the world-renowned Berlin institution for a decade, Marcel Dettmann inhabits techno's top tier. Fabric 77 is a well-balanced selection of current techno in a master's hands. Incorporating unreleased material from his own MDR label, unheard Marcel Dettmann remixes, and such masters of the genre as Terence Fixmer and Robert Hood, the mix may surprise some listeners with its vibrancy, delicacy and range. Other artists include: Ryan James Ford, The Persuader, Answer Code Request, Dario Zenker, Moonbox, FBK, Byetone, Rod, Paperclip People, Norman Nodge, Francois X, O [Phase], Lockertmatik, Wincent Kunth, Joey Anderson, Marcelus, and Vril.
"Owen Maercks' Teenage Sex Therapist LP is one of the forgotten twisted pop masterpieces of the 20th century. Owen had been in Monster Island with Henry Kaiser, who proposed he do a solo album of his songs. Henry had moved back west by this time, so Owen went out and recorded this album there. Henry produced, and added amazing horn parts by Jon Oswald, Larry Ochs and John Gruntfest. The album was mixed, pressed and distributed exclusively to radio stations, record labels and the like, in the hopes of getting Owen signed. The music didn't fit any extant pigeonhole, however, so no deal was in the offing. About the only note of its passing was made by an A&R guy at Elektra, who swiped the arrangement (and lyric rearrangement) of "Little Black Egg" (originally by the Nightcrawlers) for use by his protégées, The Cars. Well, fuck them. Teenage Sex Therapist is ripe with jaw-drop moves. Flashes of Eno, Beefheart, Lou Reed, the Bonzos, and various of Owen's other obsessions, fight each other for air-time. And everyone goes away a winner. If this one doesn't make your teeth wiggle, you need a new jaw." --Byron Coley; LP comes with a download card.
Steve Linnegar was an accomplished songwriter, musician, painter and martial arts disciple. A legendary figure from the South African '60s-'70s underground music scene, the "hippie king of Cape Town" formed the Snakeshed band in the '70s along with top guitar-player Martin Kopelowitz and keyboardist/producer Peter Hubner. Refusing offers from some record labels who insisted they should go "commercial," they decided to record and release their first album, Classic Epics, all by themselves. Released in 1982 on their own private label, this record is one of the South African prog/psych crown jewels. Features layers of acoustic/electric guitars, Gilmour-alike guitar solos, ultra-melodic vocals, effects, and cool Tao-inspired lyrics. Culminates in the haunting 14-minute long "Desert." Remastered from the original tapes for the first time. Includes an insert with rare photos and liner notes by Aaron Milenski (Acid Archives).
LP version. One of the most intriguing artists on the Hospital Productions roster, Lussuria came to prominence with the release of three tapes as part of the American Babylon series in 2012 which were eventually compiled into a double vinyl edition in 2013. His opiated atmospheres brought together the ritualistic appeal of late '70s and early '80s Italian industrial music crossed with the claustrophobia of early material from The Cure and the decadent, voyeuristic compulsion of Pasolini flicks so enamoured by Coil. Having been in the works through late 2013 and in post-production for several months since, Industriale Illuminato is in some respects the first release by Lussuria conceived as a standalone album, and is perhaps his most unique, unsettling body of work to date. Inspired by Deconstructionism and an overriding sense of anxiety, the album revolves around the dislocated narrative of album opener "Boneblack," a dense and evocative fade into shadowy realms inspired by composer Giacinto Scelsi and the enigmatic mind-tricks of Alain Resnais' Last Year at Marienbad. "Petra Marina" sees Lussuria use real drum sounds alongside electronic ones for the first time, layered through with odd, foreboding drones constructed out of handmade Japanese music boxes, feedback manipulation and mangled tape loops which together sound like an industrial, shadowy counterpart to the hazy nostalgia of Boards Of Canada. "Venus in Retrograde" was inspired by and evokes the paranoid narrative of Francis Ford Coppola's The Conversation, making use of snatches of barely tangible dialogue to form an unnerving backdrop, before "Breath of Cinder" brings the first half of the album to a close with field recordings made in deepest provincial France overlaid with a detached narrative evoking that cold, abandoned landscape. The second half of the album takes us further into this airless environment, the intriguing widescreen ambience of "Eyes of the World" offset by the percussive rattling and decimated 3 pinch harmonics of "Angelshare," while "Wind Carries Soot" recalls the aggression of Mika Vainio sedated and tamed into an altogether more narcotic kind of beast, before "Art of Veins" closes the album with a mangled and inverted message -- like some kind of Satanic directive embedded for posterity.
With Total 14, Kompakt's extremely popular compilation series returns to the fore after its sabbatical in 2013; a well-needed break from the routine that was put to good use, resulting in one of the most riveting installments in the series yet. Both veteran and freshman artists were chosen for an exhaustive overview of past label exploits, including powerful cuts from the likes of Dauwd, Kolsch, Blond:ish, Michael Mayer and The Field -- but this wouldn't be Total without the exclusive stuff, so Kompakt is more than happy to add a generous serving of brand new tracks from Superpitcher, Saschienne, Weval, Thomas/Mayer, Voigt & Voigt, The Modernist and Jürgen Paape. As with every compilation, the label's selection for Total 14 has to meet the high demands of a perfect mix tape -- you'll need some bangers on there, don't forget the atmospheric lot, keep the story arc in mind... the formula isn't too complicated, but Kompakt thinks they nailed it big time, thanks to a particularly strong line-up showcasing both the best-sellers and the personal favorites of the last two label years. What's most striking, however, is how a pool of artists as distinct as Coma, Thomas Fehlmann, Sebastien Bouchet, DJ Tennis or GusGus can find harmony in diversity, with a cut such as Maceo Plex's glamorous prime-time stomper "Conjure Superstar" leading to the delicate nostalgia of Weval's "Something" in the most natural manner. Speaking of which, the Amsterdam duo's contribution to Total 14 is also part of the exclusive material on the compilation: this includes exciting new tracks from some of Kompakt's most cherished artists - such as Superpitcher's dreamy "Delta," Saschienne's neon-lit "Horacio Delirium," the Tobias Thomas and Michael Mayer-helmed "Unter Holzern," Voigt & Voigt's cybernetic ditty "Tischlein Deck Dich," The Modernist's pop-infused "Die Fette Gazelle and the Hidden Sixpack" and Jürgen Paape's "Heuriger," the long-awaited (and slightly insane) follow-up to his Total 10 classic "Ofterschwang." From Mississippi to Neo-Tokyo, you'll need only one soundtrack for the trip, and it's this one. Other artists include: Gui Boratto (feat. Coma And Hell), Terranova (feat. Cath Coffey), Dave DK, Gunjah & Niconé, DAMH, DJ Tennis (feat. Pillowtalk), Partial Arts, Justus Köhncke, and John Tejada.
Demdike Stare unleash the 6th installment in their ongoing Testpressing series, a split session focusing on damaged dancefloor articulations on the A-side, and demented metal edits on the flip. "40 Years Under the Cosh" finds Demdike in feisty form, re-framing the bare-boned floor-bound funk of classic Artwork and Anthony Shakir within more brutal parameters. "Frontin'" heads somewhere else entirely once again, unloading an agitated, freeze-framed metal loop and turning it into a barely-contained bass-and-drums session that, unsurprisingly, sounds like nothing you'll have heard from this lot before.
2014 jewel case repress, replacing the original gatefold/6-page digifile edition. Millie & Andrea are Miles Whittaker and Andy Stott, fellow label-mates at Modern Love who collaborated on an occasional series of 12" releases between 2008 and 2010. They now return with Drop the Vowels, their debut album. Produced fast and loose through late 2013/early 2014, it's an album that recalls the strict and stripped funk of Anthony Shakir as much as it does Leila's incredible debut Like Weather, eschewing the dark aesthetic both producers are best known for in favor of something much more visceral. It's an album borne from a love of both pop and club music, made to evoke an adrenalized, hedonistic, as well as an emotional response. Opener "GIF RIFF" brings to life a gamelan edit stripped bare before the over-compressed "Stay Ugly" breaks out with a tumbling, broken arrangement situated somewhere between Richard D. James and Jai Paul. "Temper Tantrum" and "Spectral Source" follow, versions of tracks originally released on the second and third Daphne EPs respectively, the former a rugged rave anthem tempered by blue strings, the latter a proper dancefloor destroyer recalling Shake's mighty "Madmen." "Corrosive" flits between a fibrillating, arpeggiated steppers' rhythm and a brutal jungle breakdown, while "Drop the Vowels" further explores and strips bare bass & drums before the slow but jacking warehouse killer "Back Down" provides pure percussive abandon. "Quay" ends the set with something quieter, a sublime coda made entirely from field recordings. Mastered and cut by Matt Colton.
There Is Only Now: Instrumentals LP
There Is Only Now Cassette
There Is Only Now: Instrumentals Cassette
Bo Diddley's a Twister LP
Chopping Mall (Original Score) LP
Turn Up the Silence EP 12"
The Great Escape: Original Motion Picture Score 2LP
The Fantastic Shadows LP+CD
Plays Gershwin & Ellington LP
Queerifications & Ruins Vinyl Sampler 4 12"
Glitter Glamour Atrocity CD
Glitter Glamour Atrocity LP
Blade Runner Original Motion Picture Soundtrack LP
Under the Influence Volume Four: A Collection of Rare Soul & Disco 2LP
The Earth Wants Us Dead 3LP
Things Haven't Gone Well CD
Things Haven't Gone Well 2LP
Smog: Original Motion Picture Soundtrack LP
The War of the Worlds: Original Motion Picture Soundtrack LP
Zen: The Music of Fred Katz LP
Stan Getz with Guest Artist Laurindo Almeida LP
Compost Black Label 118 12"
Look Down At Your Feet Below 12"
Vultures Bazaar (feat. Earl 16/Abantu) (LV Raw RemiX) 10"