Melodious Thelonious, this round of Afro-industrial — the first and last ‘almost a bit like Holger Czukay’s song Persian Love without the short waves. A.O. seems to play in the jungle (a street jungle wherever).’
The opener is clubby, percussive; then a hypnotic tribute to Reebop Kwaku Baah, from Can, featuring kalimba sounds. Danna is a remix of Malian artist Ben Zabo, with a nod to On-U. ‘Afro-Industrial’, avowedly.
Almost-balearic, who-spiked-my-drink house; Cali-speed-freak-bastard-child drum machine-guitar not-lushness; music for drinking boxed wine and snorting Ajax to, whilst the cops close in. (Says here.)
Thrilling bundle of JM’s more reaching, stimulating stuff, from the mid-90s bang up to date. ‘WARNING: Only buy and play as a sound selector if you have no fear and don’t give a fuck.’ Hand-stamped, limited.
Performing live at the Arnolfini in Bristol, on Saturday February 19.
Bleeping dirty stinkers from rudeboy Brooklynites Matthew Morandi and Max Ravitz.
Noise quartet from Lyon, where they run the Echos festival, using monumental concrete amplifiers and natural Alpine acoustics. Keys, voice, cello, electronics. Mastered by James Plotkin, who is a fan.
Heartically dubwise, rugged and raw essays in classic grime, UK garage and dubstep from a new London-Berlin collaboration, with stuff like Horsepower’s In Fine Style galloping through its nervous system.
Ferocious, grimey breakbeat and techno — dubwise but cut-throat, new-school but clued-up. Check those vintage Nubian Mindz rolls to start; and One Step for deadly, Mabrak-style drum-talk. 180g as per.
Hissing, worrisome dub-techno: less improvisational and mercurial than to date; more contemplative, stickier. NMS nods to 2000 Black-era Dego; Last Snare cuts vintage house vocals into a percussion stomper.
The dubwise duo moving into more intuitive terrain. Part 1 beats its wings and scurries about in the undergrowth of a chattering Jungle; 2 moves into the light with kosmische intrepidity. Tiny pre-release run. Ace.