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Notorious, seminal electropunk from 1981 — Beate Bartel from Einstürzende Neubauten and Chrislo ‘DAF’ Haas, with vocalist Krishna Goineau — which coursed into Chicago house and Detroit techno. Undiminished; still vital.
Startling, exhilarating concrete music by this experimental Canadian film-maker, beloved of Stanley Kubrick and George Lucas. (A homage to him is embedded in Star Wars.)
Three rare recordings by this pioneer of early Danish electronic music — compelling, often dazzling, but focussed and without bombast.
‘Electronic Music was originally released in 1987 as a retrospective album, collecting three of Bent Lorentzen’s electronic works from the 70s. These clearly demonstrate Lorentzen’s close familiarity with his equipment and his great technical proficiency regarding the creation and manipulation of all sorts of electronic and recorded acoustic sounds — typically in the form of speed changes, reversed sounds, and reverb and filter effects. The music is often quite dramatic with distinct narratives and multiple dynamic layers of sound, but still with a clear sense of disposition and restraint, possibly stemming from Lorentzen’s experience with classical instrumentation and orchestration.’
Fastidiously prepared and stylishly presented by IDL, as per.
Fifty feet of wire, miked at both ends, passing through the poles of a large magnet, set vibrating four times at four different frequencies, in complex, evocative, ethereal chords.
“In the beginning of the pandemic we decided to take a turn and move to a small beach close to São Paulo, right in the middle of the rain forest… water definitely took a major role in our lives. We were living right in between the ocean and a waterfall, it´d rain for days on a roll sometimes and it was an open house where we had the sound of rain 360 degrees around us… I kinda think our music has a little of those different dynamics of water in its different states. Also, it might seem strange but São Paulo is a city in the water too, and it has a very chaotic relationship with it.”
‘The music itself is difficult to pin down: always kinetic and driven by fluid, nimble percussion, with a freeness to the sound overall, but also discipline, as the pair harness and channel the elemental force from which they’ve drawn their inspiration. At times the lines between Takara’s skittish percussion and Boregas’ idiosyncratic synth work and sound manipulation blur into flowing rivers or torrents of sound — here, both water and sound have the ability to awaken in us different memories, and emotional or physical states.
‘We could say say their sound contains clear influences from jazz, classic dub, krautrock, and the outer limits of post-punk. Contemporary allies include Holy Tongue, Shackleton, Oren Ambarchi…’
The 35th Anniversary Edition of the Ash Ra guitarist’s early-eighties guitars-and-electronics breakthrough, with the original embossing to the cover.
A real game-changer: a momentous influence on Basic Channel, Carl Craig and so many others.
Perfect for zoning out.
It’s a must.
John Simon’s funny, entertaining chop-up of a mock MM debate, enacting subjectivities split and scattered, narratives disrupted, signification broken down… ‘Drop this jiggery-pokery and talk straight turkey.’
Dark, funky and grooving, inventive and flowing but punchy and sharply focussed. Moebius’ electronics, Neumeier’s drumming, Plank’s engineering: from the early eighties but fresh as anything.
40th Anniversary Edition: hand numbered, limited edition, white vinyl.
Hyperreal treatments of live woodwinds, banjo, voice, lap steel, piano, guitar.