Review: While the name may be new, A New Line (Related) is supposedly the work of an already established musician, although Kimochi was never a label that cared about hype. The music stands just fine on its own, digging into the kind of dusty and dusky house and techno formations that the label has forged its hand-sprayed identity on. There's plenty of ambient techno twirls to be enjoyed on the likes of "Dancing On Soft Borders", while the beats melt away entirely on "After A Short Illness" and grandiose EP closer "RIYL Failures". Once again Kimochi comes up with the kind of meaningful variations on the 4/4 framework that keep our record bags full and our souls enriched.
Review: Mannequin boss Alessandro Adriani returns to Stroboscopic Artefacts with 'Embryo' - an immersive four-track micro-odyssey spanning across jagged ambient scopes,unmapped acidic grounds and further leftfield-friendly sonic territories, opening up the path for his forthcoming sophomore LP and first ever for Stroboscopic Artefacts, 'Morphic Dreams'.
Review: Thankfully, Richard D. James has decided to finally release at least some of the output that he's been banging on about since mid-2000s. In a number of interviews, the might Aphex Twin hinted that he has vast artilleries of tracks stacked up and unreleased, probably more on purpose than out of laziness...or maybe not. What we do know is that AFX is reborn after the string of acid 12"s released about 10 years ago on Rephlex, that saw the alias become one of the most popular of James' alter egos. Orphaned Deejay Selek is a collection of tunes that contain all of the Twin's magic and unpredictably, but that also cut straight to the point and head to the middle of the dance floor. This is banging brain dynamite coated in the man's iconic style and flair. Welcome back AFX, and many hats off to Warp for making it happen.
Review: Chicago label Chained Library present some contemplative minimal noise experiments courtesy of the mysterious Agnes who presents the 012016002001 EP and it is mastered by the one and only Rashad Becker: which is fitting really. Fans of Becker's recent works will really appreciate these extreme and at times challenging sonic workouts on both sides, approximately 15 minutes each. Both extended pieces are reductionist electronic sound art at its finest. Very intrigued as to what this imprint is up to next.
Review: Back in 2016, legendary Afrobeat drummer Tony Allen approached techno pioneer Jeff Mills with the idea of working together. A series of live gigs and off-the-radar studio sessions followed, with the first fruits of their joint efforts finally appearing on this must-have 10". As you'd expect, the duo's collaborative work combines Allen's traditional Nigerian polyrhythms, traditional Afrobeat instrumentation, and the far-sighted, sci-fi inspired electronic futurism that has always marked out Mills' work. The result is a quartet of cuts that could arguably be described as retro-futurist Afro-tech - all delay-laden beats, basslines and organs subtly sparring with gentle acid lines, Motor City electronics, beguiling deep space textures and shimmering, 31st century motifs. It's arguably Allen's stylistic contributions that dominate, but that's no bad thing.
Review: The latest outing on Vatos Locos' "Limited" series comes courtesy of Amo, an artist whose last solo outing - a decent but largely overlooked debut EP on Dissonant - was released way back in 2013. There's plenty to admire across the four-tracks, with opener "Find Turn" delivering an impressively deep, woozy and hypnotic blend of soft-touch electronics, drowsy, effects-laden vocals, dubbed-out aural textures and shuffling tech-house drums. Elsewhere, "Spitgame" is a more bass-heavy affair rich in wonky vocal snippets and bouncy drums, while "Whattosay" is a mind-altering chunk of early morning tech-house smothered in trippy electronics. To complete the package, Hector and David Gtronic join forces to deliver an off-kilter, club-ready minimal house revision of "Find Turn".
Review: The latest missive in the L.I.E.S. ongoing series of collaborative EPs brings together Cititrax regular An-I (AKA sometime leftfield disco maverick Doug Lee) and Berlin-based experimental electronics maverick Unhuman. The pair begins in forthright fashion, moving from the racing drum machine heartbeats, rhythmic noise and mangled yelps of "Five To Nine", to the doomy bass, triple-time beats and clanking metallic hits of post-punk number "Hate Thy Neighbour". Over on side B they mutilate electro beyond almost all recognition on the alien insanity of "Entschuldigung" before lolloping towards a conclusion with the fuzzy industrial funk thrust of "Cannibals".
Review: Despite releasing a series of inspired, out-there 12" singles on Tabernacle, Offseason and Going Good, we're no nearer to discovering the identity of Anom Vitruv. In many ways, it doesn't matter. The music he produces - a ghostly blend of curious found sounds, crusty ambience, mawkish deep house and unsettling techno - seems to revel in its unmarked, untitled nature. This long player for Canada's Total Stasis continues on his now familiar theme, quietly shuffling between eerie soundscapes, experimental interludes, dubbed-out minimalist oddness (the weird but immersive "Track 3") and clanking, industrial house (the alien electronics and metallic percussion of "Track 4").
Review: Automatik-Datamatik is a label based in western Germany and founded in 2008 by Adalbert C. Kupietz. He would like to present you with this release, which is a tribute to his late father Leszek J. Kupietz. He was passionate drummer in the 70s/80s and is said to have toured intensively with his band all over the world. Although they never had the opportunity to collaborate directly, Adalbert had access to some of his recorded drum skills on this record. Electronically packed with analog synths accompanied by Leszek's Sonor drums. Used extensively on the album were PPG Wave 2.2, Fender Rhodes, Rhodes CHROMA, Hohner Clavinet, Yamaha CS-50VP-330 diverse ARPs, Korg and Roland Synths.
Review: Gravity Graffiti present more mesmerising sounds from far-flung reaches, this time showcasing the music of debutant Thai producer Anurak Boonliang. According to the label, Boonliang is steeped in classical Thai music training, and now applies his background to drum computers and synthesisers. The results are astounding, characterized by nimble melodic and percussive programming that moves between regimented rhythmic shapes and more free-flowing patterns with grace and elegance. "Reality" brings Boonliang's roots into focus with a field recording of what we assume is a traditional Pi Phat musical ensemble. If you're in the mood for fresh electronics unbound by the familiar structures embedded in Western culture, look no further.
Review: Some 25 years after delivering his debut 12", Richard D James hasn't lost the ability to thrill or inspire. By his obtuse standards, the material that makes up the surprise Cheetah EP is actually rather laidback and melodious. "Cheetah2 (LD Spectrum)", for example, sounds like a slow house jam written by robots, while the even deeper "Cheetah7B" shuffles along in a metronomic fashion, seemingly oblivious to the increasingly aggressive World at large. Of course, those trademark skittish IDM rhythms are present - see the B-side's lead cut - and the Cornishman has thrown in a couple of hazy ambient cuts for good measure.
Review: One of the great joys of James Clements' music as ASC is its thrilling unpredictability. While his productions have always been rooted in drum and bass, he's released little straightforward D&B for the best part of a decade. His latest outing on Samurai is dark and hard to pigeonhole, offering tracks that variously mix and match elements of intense acid, Autechre-style IDM, the sub-weight of D&B culture, the aural haziness of ambient and the skittish post-D&B rhythms that have long marked out his work. Our picks of a very strong bunch are the buzzing experimental techno psychedelia of acid-laden closing cut "Currents" and the sparse, sub-heavy haziness of opener "The Siren", where high tempo acid lines bubble away above a suitably hazy and paranoid backing track.
The McDonald's Prayer (Japan Blues regrind) (5:58)
The McDonald's Prayer (Ossia Milkshake mix) (3:19)
Review: Seb Gainsborough and Chester Giles' ASDA project has been one of our highlights over the last couple of years. Through their punky, deranged aesthetic, the duo have given new meanings to the spoken word disposition and, in the process, left the doors wide open for interpretation. The music scene needs that. We need that. It's as if their work has cleansed the air for us and taken our minds back to a time when genres weren't such a big deal; a palette cleanser, if you will! "The McDonald's Prayer" marks their second outing on for No Corner and, much like The Abyss LP, the tune blazes through poetry with disparate shots of bass and sparse percussion stabs. This is all rendered all the more special thanks to a remix from London's Japan Blues, whose remix duties ever since that pair of bruisers for Place No Blame have become household favourites of ours, and he's on form here; a lo-fi slew of bass moulds around hazy claps and peaceful melodies to create a masterful groove. Ossia comes in for the second remix, this time stretching the original out onto some vintage Metalheadz vibes... minus the breaks. Sick.
Review: It's been a good week for Asylum, whose robust contributions to the Persistence's just-released third multi-artist EP have been picking up major plaudits. This limited-edition 7" single sees the unheralded producer mark his debut solo release with a decidedly spooky and foreboding chunk of industrial IDM. It boasts droning, fuzzy guitars and dystopian melody lines rising above a distorted, off-kilter drum rhythm. On the B-side, Downwards co-founder and '90s techno survivor Regis provides a remix that harnesses the inherent exoticism at the heart of Asylum's original while stripping back some of the darker elements that make the original version such a moody listen. His sparse but rolling drums are particularly impressive.