Review: This 7" from Yao Bobby & Simon Grab is as esoteric as it gets. If you don't like noise, you won't like this, it's that simple. The two tracks are taken from their recent album 'Wum' on LAVALAVA. It is some of their most abrasive and confrontational music to date. 'Nyagblodi' is an attack on corrupt African politicians with a loud, guttural voice and frazzled synth over heavily distorted drums. On the flip, 'Church' has a broken beat rhythm, hardcore industrial texture and more powerful vocal chants. These are two hard-as-nails tunes with a powerful message.
Review: Adalsteinn Gudmundsson aka Yagya has long been at the forefront of the dub world, He has a fantastically painterly style that fauna him sweeping long-tailed chords across wide-open vistas and laying down smooth basslines that lock you in. The changing seasons of his native Incline have often been his chief inspiration and that's the case again here on his most dreamy work to date. The record is divided into the distinct moods of Spring ('Vor') and Autumn ('Haust') and is brilliantly escapist and evocative.
Review: It's not easy trying to pin down Yoshi, the Italian producer. Info is thin on the ground but we do know that parts of A Sunny Place for Shady People are clearly inspired, at least in part, by the legendary Ryuichi Sakamoto and other Japanese digital pop moguls, A Sunny Place is as exploratory and avant garde as it is universal, and steeped in a kind of authenticity that means it could quite possibly have been made at any point since the mid-1980s. A noteworthy achievement and a fantastic, instantly replay-able album.
Review: Terry Riley's 'In C' had a huge impact on 20th Century music, first presented in 1964, it sounds out of this world, even today, and is as fixated on creating a musical impression as it is the technical rules it insists upon to achieve that - 53 phrases, each musician allowed to repeat theirs as many times as they like so long as they do things in the order they first appeared, making success reliant on listening to each other.
The Young Gods may not have such frameworks, but nevertheless also greatly effected countless other artists. They're a band that - to paraphrase LCD Soundsystem - really did sell, or maybe swap, their guitars in favour of synthesisers, their innovation cannot be understated. Here, then, they offer a new interpretation of Riley's conceptual masterpiece, following his rulebook while somehow managing to make it all new.
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