Review: It's always good to see a split release from two artists whose track records (no pun intended) make it very difficult to predict where the new wares will fit. Which is exactly the case with this one, given K15's oeuvre name-checks imprints like Wotnot Music, Eglo and Wild Oats, while SMDB has appeared on Funkineven's Apron and the always great Lo Recordings in recent years. Needless to say, then, if we can rely on one thing it's that everything on this expansive, obscure collection of curveballs will be deep and richly textured. From 'Pace & Time''s downtempo barroom jazz, to the shuffling broken beats and waves of synth on 'Dry Mango (Part 2)', the confusing beat structures and delicate piano play of 'Earth State' to 'Syntherlude''s beat-less, science fiction tune up, it's all well made stuff.
Review: This is proving to be a big breakthrough year for Kosh, a producer hailing from Casablanca in Morocco. After making a first appearance last year on Casa Voyager, he's returned to that label a second time before dropping the "Endless Quest" 12" on eudemonia. But now he's made a marked leap forward with this transmission on 20:20 Vision, where his incredibly well-read take on vintage electro sounds right at home. There is quality pouring from every corner of this record, but we recommend you make a beeline for the sumptuous "Vicious Love," an acid-laced burner with soul to match its snarl.
Late For Sum (Kincaid Sleep Deprived version) (5:24)
What's The Time? (Kincaid remix) (5:59)
Distant Storm (Kincaid remix) (6:36)
Not A Priority (Kincaid remix) (6:10)
I Smashed Your Phone (Kincaid Wolfish remix) (5:22)
Review: This is a second release from the familia collaborative duo of Kincaid and his dad Blancmange. Their first EP made a big mark when it landed on Moscoman's Disco Halal imprint and now they back it up with more sludgy electronics, deconstructed dark disco and coldwave synth styles. "Late For Sum" opens in mysterious, spacious fashion before a Kincaid version reworks it into something more propulsive for the club. The darkened mood and trippy synths continue on "What's The Time?" while the b side offers exotic Middle Eastern disco, cosmic melodies and stark electro-techno with real panache.
Festival Of The Black Sun: Evocation/Transfiguration/The Pit/The Sactifice (8:46)
Lost Forever (12:04)
Review: It's taken a while, but finally Glasgow's Komodo Kolektif has delivered a sequel to its' inspired debut EP, 2017's "Sumantras". It's a biggie, too: an intoxicating, hallucinatory debut album that further explores their obsessions with trance-inducing rhythms, Indonesian gamelan instruments and psychedelic electronic futurism. At times, the album is wild-eyed, panicked and intense (see the hallucinatory throb of opener "Disciple Of The Drone" and the entrancing "Temple Ball"), at others sparse, chiming and bass-heavy ("Sun And Water"). The headline attraction is undoubtedly B-side opener "Festival Of The Black Sun: Evocation/Transfiguration/The Pit/The Sactifice", a rising and falling 18-minute track in three interlinked parts that best exemplifies the band's distinctive vision.
Review: Konstruktivists is the Industrial project of Glenn Michael Wallis from Kent, England. In the late '70s Wallis was a "control agent" for Throbbing Gristle and the Industrial Records crew. Influenced by Krautrock bands like Can, NEU!, Cluster/Harmonia as well as Tuxedomoon, Yello, Chrome, and SPK, Glenn began to record his own material. After several cassette releases, Konstruktivists' first LP 'A Dissembly' was released in 1982 followed by 'Psykho Genetika' in 1983 and 'Black December' in 1984. That same year Wallis collaborated with his friend Chris Carter, of Throbbing Gristle and Chris and Cosey fame, on CTI's 'Conspiracy International One'.
In 1985, Glenn spent a week at Chris and Cosey's studio recording 11 tracks that would become the 'Glennascaul' album originally released on Nigel Ayers' Sterile Records. Produced and mixed by Chris Carter, it marked a complete change in style for the band towards a beat-orientated rhythmic sound. 'Glennascaul' is proto electro at its very best, with Glenn's hallucinogenic vocals on top. A musical collage designed to invoke images in the mind. The back cover clearly states "No guitars. No Fairlights." For this deluxe reissue we've added two bonus tracks recorded around the same time, now vinyl for the first time ever. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original jacket featuring cover art, which is a co-production of Trevor Brown, Nigel Ayers and an image Glenn Wallis supplied. Each copy includes a double-sided 8x11 insert with liner notes by Nigel Ayers, press clippings, and photos.
Review: On his previous Konx-Om-Pax albums for Planet Mu, Tom Scholefield offered up a kaleidoscopic mixture of sweaty rave influences, colourful ambient melodies and abrasive, abstract sounds. On "Ways Of Seeing", his first album for three years, he's decided to flip the script, opting for a more optimistic, melodious and warmer sound that draws on a far wider range of influences. It's a switch that has paid dividends, with each successive track bringing a new sun-bright or morning-fresh blend of glistening electronics, tuneful lead lines, shuffling rhythms, leftfield pop hooks, deep space chords and humid aural textures. Yet for all the colouful electronic positivity, Scholefield still refuses to deliver unnecessarily polished tracks, instead opting for a thrillingly fuzzy finish fully in keeping with his experimental roots.