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Detraex Corp
Live at Pompeii
Sagome
‘The opener is a statement of intent — frazzled, shuffling drums, ketamine oud, heavy sub bass — something like Wordsound’s Scarab zooming out of the 90s into the future. Tombaroli is a head nodder, with insistent percussion and banging pulse. A lysergic fever-dream, Bullet Holes dips into spooked psychedelia; No Minus sounds like a distant cousin of DJ Premier’s production Come Clean, for Jeru.
‘Channel 83 lands us back in the club for a rib-rattling stomp, weaving mystical soundsystem magic with its stunted horns and swirling voices. The grimy judder of Expect Excerpt slides proceedings down to a bleary-eyed half-speed, like a party which won’t let you leave. Mount Point is a welcome release, an early morning sunrise — rich, slow, and shimmering — before Landings Dub signals the end of the journey with a metallic elegy; both a summing up of the record, and the contemplation of your flipping it, and re-entering the world of Detraex Corp.’
Eight charged, intimate meditations by Julie Normal and Olivier Demeaux, playing a rickety ondes Martenot and an old church harmonium.
Gripping, detailed, stately improvisation — a bit like the ùrlars in classical bagpipe music — which nervily mixes the sternly doom-laden with precarious, other-worldly wonderment.
(The ondes Martenot is an amazing twentieth-century instrument — beloved by Messiaen, for example, and Varese. The theme-song of Star Trek is a vocal forgery of its sound. ‘J’aime cette fragilité qui côtoie la capacité de te décoller le tympan sur certaines fréquences inopinément,’ says Julie. ‘Je tiens une bombe dans les mains. J’aime son instabilité, son humanité.’)
Wood, breath, blood, eggshells… on the night of a purple moon.
Very warmly recommended.
Dazzling melds of classic Detroit, grime, dubstep, speed garage, Paisley rock, synth-wave and the rest, with none other than the man not-himself crowned king.
A historian by training, Akira Umeda became a ceramicist, a photographer, a visual artist, a draftsman, a graphic designer, a DJ, a musician, an audio technician, a writer, a researcher… Here are forty-two recordings, ranging over three decades, alluding to the incredible range of his creative work: from songs, to ambient music; from field recordings to prank calls. Drawn from cassette tapes stored in Umeda’s house in São José dos Campos, in São Paulo, Brazil.
French-Belgian electro-samba, cornered. A mini-LP on the Brussels label, Les Disques Du Crepuscule, from 1982; augmented here by the first Antena EP, a few B-sides, compilation tracks, and unreleased cuts.
A lovingly presented, outer-disciplinary collaboration featuring Ben Lancaster playing Moog, Sean Roche on saxophones, and visual artist Justin Hibbs. The music is a no-nonsense jazz stomper with Sun Ra running through its veins, and an eastern flavour; in two quite different arrangements.
The GRM don letting his hair down, in this 1982 soundtrack to the film Rock, performed on a TR-808 drum-machine, Synthi AKS, and Farfisa organ and clavinet. Nineteen shots mixing together electro, Radiophonics and John Carpenter. Bracing, brilliant, highly accessible; warmly recommended.
‘Bisk is back… as cheerfully unhinged as ever… absurd and exhilarating in equal measure. The Japanese producer’s drum programming weaves through knotty thickets of syncopated beats and white-noise bursts, chasing ghosts and dodging potholes. His samples are fragmentary dispatches from far-flung points, and any given musical phrase might shoehorn multiple worlds into wobbly union—free improv with easy listening, kindergarten recess with NASA Mission Control. Beneath each drum hit lies a potential trap door, and his melodies, if that’s what you can call his tangled scraps of electric bass and modal keys, ricochet like pinballs repelled at every turn by shuddering mechanical bumpers’ (Pitchfork).
‘The Numero Group guide to private issue new age. Featuring Laraaji, Iasos, Joanna Brouk, Don Slepian, Peter Davison, Master Wilburn Burchette, Jordan De La Sierra, David Casper, Robert Slap and nine other pioneers of the Perrier underground. Adorned with Marcus Uzilevsky’s Linear Landscapes, this 2xLP compilation is housed in a sturdy tip-on jacket and is accompanied by a 32-page booklet. The fourth world awaits.’
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