Tag Archive: Liars


Some Releases we missed in June

Mind Over Mirrors – “High & Upon” (Aguirre Records)

Jamie Fennelly’s best known for his work as a member of Peeesseye a U.S. drone/noise trio who’ve combined “elements of warped rock architecture, freejazz horror, intergalactic glossolalia and stripped down abstract expressionism” together since 2002. This is a reissue of his debut limited edition cassette release on Gift Tapes from 2011. The album starts with the thick hypnotic harmonium and Fender Rhodes through delays and synth drone that is ‘I’m willing to stagger’ a challenging and unorthodox opening that never the less reward the listener with its complexity and depth. This followed by a sparse and disorienting guitar and harmonium of ‘Harmattan Morning’ which kind of sounds like sunned warped version of “Tomorrow Never Knows” by The Beatles. Finally we’re treated to the sparse piano and steady emolliating organ and synth drone of ‘Mountain Convalesence’ a 15 minute epic. Though not a the type of release we generally cover on Sonic Fiction “High & Upon” is definetly worth checking out via Mind Over Mirrors Soundcloud as is the even more brilliant “The Voice Rolling”. You can buy “High & Upon” via Boomkat on vinyl or digital download. I hope they soon stock the sold out “The Voice Rolling” digitally too.

Bear Bones, Lay Low – “El Telonero” (Kraak Records)

Prior to this album Bear Bones, Lay Low’s biggest exposure outside of the noise/drone music scene was his fantastic contribution to Crammed Disc’s Congotronics vs Rockers compilation. This album is quite different from that track concentrating on creating short and satisfying songs heavily influenced by the krautrock of Can, Harmonia, the post-punk electronic synth music of Cabaret Voltaire and Ekoplekz, Jamaica dub and his cosmic contemporaries Black Moth Super Rainbow. The music is far more relaxed and colourful than what I had expected in fact it ranges from the brightness of ‘A Fourth Ring’ and ‘Bien Gracias’ to the deep dark undercurrent of ‘Drive Sucks’ and many shades in between. There are many artists recreating the sounds of krautrock artists such as Harmonia, Can and Cluster and a large majority sound like retreads but a combination of his weaving of other influences into his tracks and something that I just can’t put my finger helps Bear Bones, Lay Low rises above these mere imitators. It’s genuinely great to hear an artist who feels at once like he’s exploring with his instruments and at the same time creating such convincing and brilliant tracks. Definitely one for fans of any of the artists and genres mentioned above and adventurous listeners will be rewarded!!!

Chevel – “Reset EP” (self-released)

Techno producer and DJ Chevel (Dario Tronchin), from Treviso, Italy, self-released “Reset”, a mini-album of spaced-out techno, this month. Having previously created mixes for the highly-respected Stroboscopic Artifacts, the label headed by fellow Italian Lucy, Chevel’s “Reset” contains tracks that are in comparison to his SA material, sexier and slower with greater focus on rhythm and warmth. There is rawness to Chevel’s work, which comes by way of his live recording process and analogue gear, including a Roland SH101 and 606, sequencer and various modular synths. The Italian’s one-take shots capture the improvised patterns and spontaneous tweaks that result in a primitive yet controlled cut. Though now living near Venice, Chevel used to live in Berlin where he explored Basic Channel, Berghain and the records stocked in Hard Wax. The tracks on “Reset” undoubtedly show the energy and influence he soaked up during his time in the capital. ‘Reset One’ has a satisfyingly thudding bass drum with an intensely resonant bass line that rises and falls. ‘Reset Three’ is a warm, grooving techno cut with a signal-like delayed synth riff that rings out over Basic Channel-style drum programming. The slow, swarming synth notes and forceful, heads down German techno drum rhythm that makes up ‘Reset Four’ is as good as Marcel Dettmann’s own sex-infused push-and-pull rhythms. With an introduction of a thick analogue bass drum and a more discernible melodic motif it becomes a driving, silvery techno cut similar to the works of Morphosis or Claudio PRC, another exciting Italian talent whose album “Inner State” won a place on my ‘Albums of The Year…so far’ list. July will see the release of Chevel’s “The Building EP”, the second of a three part series.

The Cinematic Orchestra – “In Motion #1” (Ninja Tune)

The new release from The Cinematic Orchestra (TCO) is the first in a series of compilation albums on which TCO, their closet musical friends and other artists on Ninja Tune and its family of labels create new scores for classic silent films. For the first in the series they invited jazz pianist and Flying Lotus collaborator Austin Peralta, abstract hip-hop/electronica producer Dorian Concept and regular TCO guest vocalist Grey Reverend to contribute and collaborate. TCO kick off the album themselves and though the sound (strings, synth bass and heavily processed synths) aren’t their usual fare the atmosphere they create will be familiar to TCO fans, when they kick in the acoustic drums are the things that reminders the listen who they are listening to and the track takes off from there. Next up is Peralta’s contribution a minimal stately piece utilise his piano skills alongside a string quartet that feature throughout the album. Dorian Concept’s two piece in collaboration with TCO saxophonist Tom Chant take a different tack, the first ‘Outer Space’ combines Smeared psychedelic strings and effects with the string quartets dry sound and a wobbly echo leaden solo from Chant. Similarly ‘Dream Work’ uses abstract sounds and processes acoustic instruments this time for a haunting effect, to send a chill down the spine. ‘Entr’acte’ (TCO) begins with  strings and bowed double bass moving at a glacial pace before halfway through the track it turns into an instrumental and much more elaborate version of TCO’s ‘To Build A Home’, as the track enters its last quarter the string quartet and shuffling drums add much needed tension and release. ‘Regen’ featuring the acoustic guitar of Grey Reverend and double bass of Phil France of TCO is a spare and emotional effecting track that is far greater than the majority of the tracks from his debut album from last year. The album closes with ‘Manhatta’ (TCO) with its dreamy strings, TCO groove and acoustic guitar that recalls “Ma Flour” (2007) the bands last studio album. The criticisms I can really leave at this album is that some tracks lack the tension of TCO’s previous studio albums and that this may have worked better as a DVD where the experience would be completed, however you can create this yourself using Youtube. Though “In Motion #1” isn’t the best album on TCO’s back catalogue it’s still a  very strong album and well worth investigation.

KonKoma – “KonKoma” (Soundway)

We don’t usually feature the brilliant releases by Soundway Records as they generally focus on reissues and compilations of West African Afrobeat and High Life music as well as music from Columbia and Central America and these releases do not fit into our remit. However, KonKoma are an active London-based band inspired by Ghanaian Afrobeat and High Life and this release is their début album. It’s an impressive start too as the band not only perfect assimilate the main sounds and aesthetics of this music but move it forward with sensitive modern production that doesn’t take anything from the origins of the genres and some slower paced material that demonstrates this music needn’t be all about out of the traps drums breaks and funk bass lines. The band is also great at arrangements subtly but effective utilising the vast array of instruments and vocals in the mix to create dynamic, spacious tracks that keep the listen on their toes while never disrupting the grooves of the tracks. KonKoma have produced a début album that shows off their musical and production skills and points the way forward for Western African music that could have become a stagnant museum piece, highly recommended.

The Invisible – “Rispah” (Ninja Tune)

I remember the self titled debut album from The Invisible leaving little impression on me back in 2009. I wanted to like it and it seemed they were trying to attain something to but falling short and never quite convincing me, the listener. I’m glad to say that on “Rispah” (named after singer and guitar Dave Okumu’s late mother) that they’ve achieved an arresting and emotive sound that combines electronics, guitar, drums, bass, gentle vocals and a ton of hooks and they are now the complete package. The album is thoroughly modern combining traditional band performs with electronic music production, sounds and programming all delivered with a strong emotive punch. Though the album sounds on its own, there does seem to be a hint of TV on the Radio to The Invisible’s sound. Whenever a band attempts this kind of merger of sounds it often lacks the tunefulness and heart of this release, the band too busy being clever-clever or fussing over sonic details. The album never feels like a deathly dirge could so easily have become after the death of Dave Okumu’s mother instead it a bright and almost optimistic record full of hope and redemption. “Rispah” is a pleasure to listen to in every respect; it could a dark horse in the race for album of the year.

Disappointment of the Month

Florian Meindl  – “WAVES” (Flash Recordings)

Working as a sound designer and producer, Florian Meindl has a reputation built on his high production values and “WAVES”, the Austrian’s debut, maintains this standard. Indeed, for audiophiles there is a 4GB USB stick available to purchase with high resolution masters of the tracks. For all the undeniable production quality “WAVES” is missing something: an emotional pull, a heart to balance the dryness of sheer good production. Even ‘Isa’, a house track built on flourishes of piano chords that is dedicated to Meindl’s girlfriend, is insignificant and simply grooves away anonymously. Begging the question: how did dedicating a song to a meaningful person result in a meaningless track? Can Meindl only provide music that serves a practical purpose? There are some great tracks like ‘What Is Techno’, a powerful, dirty techno track with an irresistible bass drum, clap and hi-hat groove. A low male voice asks “What is techno? What is house?” while a percussive melody drives the listener to the dancefloor. ‘Spread Out’, a dark techno track dense with claps and percussion which build to an irresistible, surging synth melody with a cry of pain/ecstasy underneath. This stands out as does the fun and bouncy ‘Good Times’. Hats, a deep bass drum and a metallic synth punch as Ricardo Phillips’s vocals command we “let the good time roll.” This and a track like ‘It’s all making sense now’ would sound incredible in a club context: the immense bass drums hit in you in the chest and the bass lines and drum grooves bully you into dancing. The rises and falls tease and pummel. Away from this context, say listening at home “WAVES” doesn’t work. There is little if any emotion to be found in the head-pounding drums and aloof synth melodies. Besides, would the average listener have the equipment to do justice to the range and richness of frequencies “WAVES” contains? The different tack Meindl attempts with ‘Isa’ and ‘Wishful Thinking’ feat. Detachments falls flat. ‘Wishful Thinking’ needs Sascha Ring’s (Apparat) gorgeous voice, not the current singer’s uninspiring monotone, to carry the song to the emotional point it’s trying to achieve. Releasing the club tracks as 12”s may have been a cleverer option than compiling them in a form that rarely naturally suits techno.

Mortiz Von Oswald Trio – “Fetch” (Honest Jon’s)

Consisting of four long-form compositions that entwine elements of dub, techno and jazz, “Fetch” is darker and danker than Moritz Von Oswald Trio’s previous albums “Vertical Ascent” and “Horizontal Structures”. The oppressive opening track ‘Jam’ unfolds over 17 and a half minutes with acoustic percussion instrumentation, brass and woodind phrases, dissonant textures, puncturing stabs of delayed bass and a drum machine backbeat that meander beneath Sebastian Studnitzky’s darting trumpet melodies. Second is ‘Dark’, which drops the pace down further and maintains the tension and sense of dread that ‘Jam’ introduced the listener to. The beat is kept nodding underneath effected sound textures, viscous bass and steely horn melodies. The album’s standout is the dancefloor-in-mind ‘Club’. Steeped in Von Oswald’s Basic Channel pioneering mode of minimal/dub techno. The twelve minute track is built on a 4/4 bass drum and 16th note hi-hat pattern that pushes the listener into techno territory. Bass frequencies growl, percussion strikes and a distant two-note synth melody is surrounded by noisy atmospherics and ghostly textures; creating a hypnotic track that remains fluid as opposed to the usual grid-based structure of techno. The mid-tempo ‘Yangissa’ closes “Fetch”. Its simmering brass and tumbling African nyabinghi-style drums weave into a dub-influenced shuffle.

Bobby Womack – “The Bravest Man in the Universe” (XL)

Bobby Womack’s new album is a triumphant return for the soul veteran, after the success of his collaboration with Gorillaz in 2010, on the “Plastic Beach” album which finished at number 2 in my (Liam, Sonic Fiction editor) Top 20 Albums of the Year that year. “The Bravest Man in the Universe” is similar to Gil Scott-Heron’s “I’m New Here” (2010) which was also produced by Richard Russell, in that it brings together modern genres and production techniques with a black music star of the 70’s. One of the main ways this album distinguishes its self is that whereas “I’m New Here” was very focused on atmosphere to back poetry, melody is always front and centre here. The album focus around hip-hop beats, probing synth bass, strings and piano with Womack’s soulful, emotive and expressive vocals always taking the lead and slotting perfectly into a through modern backing. The music recalls everything from trip-hop (Portishead, Massive Attack), cinematic hip-hop/jazz (The Cinematic Orchestra) and the dance-pop and cartoon funk of co-produce Damon Albarn’s Gorillaz. Despite all this genre-hopping the album hangs to together and only one of the track truly lets the side down the Lana Del Rey duet ‘Dayglo Reflection’ in which Del Rey feels like she’s been dropped in at the last second in a cynical record company marketing ploy. This aside it’s great to hear Womack back doing what he does best: singing and writing great soulful pop music that sticks in the brain long after the music has stopped.

Oh No – “OhNoMite” (Traffic Records)

Oh No’s “OhNoMite” is another in a string of impressive hip-hop albums released in 2012 up there with releases from Killer Mike, El-P, Thee Satisfaction, Doseone and Quakers. In fact, the album’s overall sound and approach has much in common with Quakers self titled debut as both albums hark back to classic 90’s hip-hop sound, the main difference being “OhNoMite”s source material. The album is entirely made of samples from Rudy Ray Moore’s audio achieves drawing heavily on the soundtrack to Blaxploitation film “Dolemite” from the album takes its title. As a result of this the album is pack full of funk loops, smoky jazz chords and swinging tough hip-hop beats that get your head nodding. Another similarity with the Quakers album is that this is also stuffed with guest appears but doesn’t suffer from attention deficit disorder, each MC contributing high quality raps that fit into the album overall theme. The old skool styling’s of album don’t get in the way of enjoying it, in fact it’s a major part of “OhNoMite”’s appeal. One of the stand-out elements of the album is the fantastic array of analogue synth sounds that feature throughout; it’s also a sound that doesn’t always bed in well in straight hip-hop tracks, in my opinion and Oh No’s production’s successful ingrate them with thrilling results. This is a thoroughly brilliant and refreshing hip-hop record that will appeal to fans of Madlib, The Alchemist and filthy funk 90s classic hip-hop.

Doseone – “G Is For Deep” (Anticon)

The long awaited new solo album by cLOUDDEAD co-founder Doseone is one of the finest releases by any member of that trio since their self titled debut album in 2001. It picks up where the last Subtle (a spin off project from Doseone and Jel of cLOUDDEAD) left off but with a much greater emphasis on space and pop hooks. Throughout Doseone strikes a balance between chip tune elements and deep probing electro beats and strong melodic content. The releases of by cLOUDDEAD and their related projects have always used ambience in conjunction with beats and rapping but here it feels more like Doseone is tapping into a rich vein of dream-pop that recalls the Cocteau Twins in their 80’s pomp. The new found space and melodic clarity make for a more immediate listening experience though there are still enough twists and turns to keep long time fans interested, I’m sure some will see this as a compromise but this genuinely feels like a natural evolution for a unique artist.

Delta Funktionen – “Traces” (Delsin)

After four years of releasing EPs on the Delsin and Ann Aimee labels and DJing across Europe, Delta Funktionen (Niels Luinenburg) takes the next step and translates his skills to the album format. This is a hurdle where many talented techno producers falter as shown by Florian Meindl’s disappointing “WAVES”; it is one thing to produce a potent dance floor EP but it’s another to come up with fresh ideas and approaches that can carry the weight of a much longer format. Happily, Luinenberg joins that small group of techno artists who have made the transition. The Dutch producer has said that research was key in his approach for “Traces” and he aimed to pair “a raw, machine made aesthetic with plenty of real human soul and palpable earthly emotion.” “Traces” covers a lot of ground within electronic music sub-genres. The influence of Detroit and European techno, Italo-disco and electro are strongly felt. Album opener ‘Frozen Land’ is a track of driving, futuristic electro with a Model 500-esque rhythm of percussion, echoing claps and shuffling bass drum. Its metallic sheen is speared by the undercurrent of tension in the austere synths that recall Drexciya. The searing acidic synths and driving hats of ‘Enter’ bleed through the warm, thick texture of the analogue equipment to create a pure electro cut. This opening pair introduces the album’s over-arching principles. The pacing and structure of “Traces” is classic techno: start slow then gradually build to an opening up in the track’s centre, drop and then return to a visceral fury until the end. The bass frequencies are the star of the album. ‘Redemption’ features possibly the most resonant bass line you’ll hear this year. The subterranean bass drum pounds under a forceful hats and clap pattern while the central melody played on a sparkling synth rips through the air. This visceral and raging track demands to be included in DJ sets. ‘Utopia’, a techno/italo-disco cut, speeds the tempo up. A thick, resonant bassline and tight claps are complimented by washes of atmospheric chords and an ascending/descending melody played on a thin, bright synth. A section at 4:40 minutes breaks down to just the bass drum, hats and that deep, warm bass. The re-introduction of the melody and chords lifts ‘Utopia’ to an evocative finale. An elegy to Detroit techno, ‘Challenger’ is a seductive track composed of a purring bass line and slowly, evolving underwater synth chords, which provides a moment of reflection after the furious intensity of the previous tracks. ‘On A Distant Journey’ is perhaps the finest moment on “Traces”. As with the rest of the album, Luinenberg draws inspiration from classic techno and electro sounds. Its ten minute run-time boasts drum rhythms that raise the spirit of Detroit techno innovators such as Derrick May and Juan Atkins and merges this with the emotive synth melodies of Kraftwerk. Just when the listener is convinced that they are being taken on a meditative trip, it unexpectedly drops to vicious drums and distorted acid riffs before veering back to the track’s initial esoteric journey. Conversely to Meindl’s “WAVES”, Luinenberg doesn’t lose sight in intricate sound-design and instead allows the pure power of machines to control “Traces”. By doing this Delta Funktionen proves to be one of the few to thrive in this challenging setting for techno producers.

Peaking Lights – “Lucifer” (Weird World)

The stunning new album from Peaking Lights showcases a more immediate version of their sound from previous foggy lo-fi releases. In fact along with Julia Holter’s “Ekstatis” this album proves that lo-fi home recordings can have a clarity and immediacy without sacrificing the grit that made them attractive in the first place. “Lucifer” acts a cooling balm or cool stream water leaping at your feet instead of the more humid and clammy sound of 2011 brilliant “936”, though it’s a little unfair to directly compare those two albums “Lucifer” demonstrates the duo ability to subtle involve their sound while still using the same basic sound set. Maybe the biggest difference musical is that Peaking Lights have chosen to create more up tempo track this time round compared with leisurely to sluggish pace of previous work, this seems to run in tandem with their new clearer and more immediate sound. The best examples of this are the funk strut of ‘Dream Beat’, the pumping bass and purposeful drum beat of ‘Live Love’ and its darker musical twin ‘Midnight (in the Valley of the Shadows)’. Peaking Lights also add some new elements to the album such as marimba on ‘Moonrise’, piano on ‘Beautiful Son’ and an Oriental melody on ‘Live Love’, that it would e great to hear more of future releases. All in all I’d through recommend “Lucifer” to Peaking Lights fans, those who are curious about the duo or those whose interest is piqued by this write up, it’s well worth investigating.

Liars – “WIXIW” (Mute Records)

The new album from Liars is quite a departure from their previous efforts. The band completely abandoned their usual guitar, drums and bass combination and composed and recorded the album almost entirely using computer music technology. The album covers quite a lot of electronic music territory from dark techno to Matthew Dear style electro-pop, techno-punk and glitch electronica recalling Mouse On Mars. Angus Andrew’s vocal are still front and centre on the album but he’s quieter and more reflective on ‘”WIXIW”, the depth of his vocal brings to mind Matthew Dear’s deep tones. I was half expecting the band’s inexperience with music technology to result in basic and generic sounds but the lush synths and subtle drums are executed expertly. Another big difference is that melodies are given the room to breathe and atonal sounds are kept to a minimum and every track is more spacious than anything previously recorded by this ambitious and experimental band. In many ways this is Liars’ most conventional release but this is no bad thing as it showcases a different side to the band rather than being a betrayal of their previous work and ethos. This is the band’s most immediate release and I feel sure it will reward listeners even more every time they revisit it.

Joint Top Release of the Month

Christian Löffler – “A Forest” (Ki)

The forests of north Germany in which Christian Löffler lived during the making of the album are the backbone of “A Forest” and Löffler’s work as a visual artist informs his focus on narrating a story as would happen with a collection of photographs or paintings. Over the twelve tracks that make-up “A Forest”, a rich yet spacious tapestry gradually unfurls. “A Forest” sits together as one piece, an entrancingly atmospheric whole. Warm, organic samples of wooden percussion are underpinned with fragile synth melodies; the chord progressions recall John Tejada’s melancholy, sunset-tinged tracks, combined with Pantha du Prince’s percussive textures and attention to detail. Although the 4/4 bass drum dominates rhythmically, it remains unobtrusive, lying low in the mix beneath the hypnotic, dreamlike atmosphere.  The title track features John Tejada-style collapsing chords atop a warm bass line and slight percussion and bell-like instrumentation. The three vocalists on “A Forest”, Gry, Mohna and Marcus Roloff, are a new dimension to Löffler’s productions and give the album an even greater emotional resonance. Mohna’s dreamy, fragile voice on ‘Eleven’ is surrounded by buzzing noises and distant bass frequencies. In one section her looped voice sits between chopping hi-hats and a bass line that rolls back and forth like sea waves. The beautiful ‘Feelharmonia’ features the Danish singer Gry whose mournful voice is embraced by shuffling percussion, syncopated drums, tapping wood blocks and a bouncing synth pattern. It is a standout in its wonderful melancholic simplicity. An interesting track is ‘Signals’, which is inspired by the Tintinnabuli compositional style of Estonian composer Arvo Pärt. The bells are brought to the dancefloor by a techno shuffle of bass drum, hats and claps.

‘Blind’ is a deeply moving sunset-suited track of ambient pads, rolling percussion, softly distorted bass, a distant male vocal and an elegiac atmosphere. ‘Swift Code’ is another notable inclusion. Lyricist and poet Marcus Roloff’s German poem passages alternate between implicit and explicitly threatening verses, which are encircled by crackles and floating glassy textures; the ambience circling like birds. On a ‘Hundred Lights’ a 4/4 bass drum finally comes out from the under the mix and pushes determinedly against an undulating bass line. Digital synthesis bubbles and wooden percussion, which features heavily throughout the album in reflection of the forest of the album’s title, chops through the atmosphere. ‘Slowlight’ is an effortless track. A simple melody loops, a bass line engulfs and a rhythm of bass drum and claps pushes and pulls. Wooden percussion grows in intensity as licks of reverb are applied and a brittle synth enters in the final seconds bringing “A Forest” to a delicate close.

Neneh Cherry and The Thing – “The Cherry Thing” (Smalltown Supersound)

When it was originally announced that Neneh Cherry and Swedish jazz trio The Thing would be releasing an album full of reinterpreted versions of songs in a range of genres from post-punk to hip-hop via jazz itself, the collaboration didn’t make sense to me. However, after a little internet research and hearing two tracks from the album my mind was changed and I got quite excited about the prospect of this album. It doesn’t let me down either with The Thing more restrained than they usually are and Cherry on dazzling form on vocals. The album opens with a version of Cherry’s ‘Cashback’ (one of two originals on the album) featuring fantastic twangy double bass, a drum break and counterpoint sax playing off her melodious lead vocal. Things get striped back on a twinkling vibraphone heavy version of Suicide’s ‘Dream Baby Dream’ before a return to a more aggressive tone with the drum and double bass assault of ‘Too Tough To Die’ (Martina Topley Bird). Next up ‘Sudden Movement’ the other original this time written by Mats Gustafsson of The Thing, a dark and dusty yet up beat jazz number. The tempo slows again for Madvillain’s ‘Accordion’ with Cherry trying a half sung half rapped vocal over twangy double bass and subtle arching sax. There are also two nods to Cherry’s father Don (a famous jazz musician, The Thing take their name from one of his songs) the first is by Don himself the ghostly and experimental ‘Golden Heart’ the other is a track original by jazz innovator Ornette Coleman whom Don Cherry complete his jazz apprenticeship with, this track is a sparse finish to a busy and fiery album full of passion and heat. Recommend to fans of the unexpectedly enjoyable!!!

Liars – “WIXIW” 4th June (Mute Records)

After leaking mysterious audio and video clips on their website and have hinted one of their idols is producing the album Liars are finally talking about their new album. Singer Angus Andrew explains the title (pronounced “wish you”) as follows “It’s a palindrome, and that interested us as far as the idea of starting somewhere, going through a lot of work, and ending up in the same place you started”. Andrew also talked about the album being more electronic and sampled based than recent Liars albums. Read the interview here and stream pre release track ‘No.1 Against The Rush’ here.

Florian Meindl – “WAVES” 4th June (Flash Recordings)

“WAVES” is the debut album for the Berlin-based Austrian producer, DJ and sound designer. The lead single ‘What Is Techno’ is a booming, dirty techno track with an irresistible bass drum, clap and hi-hat groove. A low male voice asks “What is techno? What is house?” as a percussive melody drives the listener to the dancefloor. There isn’t yet a great deal of information on the album but Meindl says it will have a stronger techno touch than his previous EPs.

Oh No – “OhNoMite” 4th June (Traffic Records)

The brother of underground hip-hop’s finest producer Madlib unleashes his last conceptual release based entirely on samples from the blaxploitation film “Dolemite”. The album features guest MCs including DOOM, Alchemist, Guilty Simpson and Erick Sermon.

Beak> – “>>” 11th June (Invada Records)

Two years in the making Geoff Barrow’s krautrock side project return with the promise of a more “progressive” record. The band stuck to the recording their jams in a room of their self titled debut album and only features two overdubs. Early reviews and pre release track ‘Yatton’ seem to confirm this promise, we will have to wait and see.

Doseone – “G Is For Deep” 11th June (Anticon)

His first solo album since 2007 promises to be a welcome return for the ex-cLOUDDEAD founder. Pre release track ‘Last Life’ combines Doseone’s idiosyncratic vocal/rap stylings with his most pop oriented melody to date. It’s the sort of track that puts a smile on your face and it’s got me (Liam, Sonic Fiction Editor) very excited about “G Is For Deep”.

Bobby Womack – “The Bravest Man in the Universe” 11th June (XL)

After his triumphant return on Gorillaz “Plastic Beach” album, Womack returns with a new solo album produced by Damon Albarn and XL Records owner Richard Russell and featuring guest vocals from Lana Del Ray.

Neneh Cherry and The Thing – “The Cherry Thing” 18th June 2012

A covers album created by Neneh Cherry of ‘Buffalo Stance’ fame and Norwegian noise-jazz trio The Thing seems unlike but here it is featuring covers of Suicide, The Stooges, Don Cherry (Neneh’s Dad) and Ornette Coleman among others.

Delta Funktionen – “Traces” 18th June (Delsin) 

Delta Funktionen says his début album on the faultless Delsin label will pair “a raw, machine made aesthetic with plenty of real human soul and palpable earthly emotion.” The Dutch producer also states, “Traces…covers … my favourite subgenres within electronic music: techno, house, electro and (Italo)-disco.” “The album will cover lots of ground, with not all of it completely focused on the dancefloor.” With tracks like the atmospheric, blissful electro cut ‘Frozen Land’ and the sticky acid of ‘Enter’, “Traces” looks to be an album for listening to as much as it is for dancing.

Christian Löffler – “A Forest” 18th June (Ki)

Another third début album for June is “A Forest” from Christian Löffler. The German artist founded Ki three years ago as an outlet for his deep techno productions after releasing minimal techno/tech-house tracks on Orphanear, a label started by Pawel, an artist on Dial. As well as dance-based tracks, “A Forest” will feature ambient passages. ‘Feelharmonia’, featuring mournful vocals from Gry, is a relaxed techno cut made up of shuffling percussion and a bouncing synth pattern.

Peaking Lights – “Lucifer” (18th June 2012)

Peaking Lights say that those that have heard their new album “conjure a night time version of previous works, music to soundtrack the moonrise to the sunrise” and “there was a new approach to recording our rhythms and we were able to see through many more influences”. Check out the “Lucifer Mix Tape” featuring snippets of tracks from the album here.

Moritz Von Oswald Trio – “Fetch” 18th June (Honest Jon’s)

“Fetch” is third studio album by Moritz Von Oswald, Sasu Ripatti (Vladislav Delay) and Max Loderbauer. It is described as showcasing a “darker and more driving mood” than previous works. The album was recorded in the late summer of last year and includes contributions from Marc Muellbauer (bass), Tobias Freund (effects), Jonas Schoen (flute, bass clarinet, saxophone) and trumpeter Sebastian Studnitzky. “Fetch” will contain a fluid set of tracks that are recordings of live improvised sessions, the running theme with releases by the trio.

This is a monthly feature where classic and cult albums are revisited and reassessed for the modern listener. The only rule is that it must be a critically acclaimed or cult record released before 2000.

Pere Ubu – “The Modern Dance” (Radar Records, 1978)

This month’s selection for Classics Critiqued is similar to April’s Classics Critiqued choice “Y” by The Pop Group. Like “Y”, “The Modern Dance” is an album that regularly receives critical praise (it has been featured in 24 different critics’ charts) but it and Pere Ubu still seem in the shadow of their more accessible peers. “The Modern Dance” was the début album by Pere Ubu who had formed out the ruminants of Cleveland, Ohio garage rock band Rocket from the Tombs in 1975. Ubu founders David Thomas (vocals) and Peter Laugher (guitar) (replaced by Tom Herman when he died of drug and alcohol abuse in 1977) were joined by Tim Wright (guitar/bass) (replaced by Tony Maimone (bass/piano) in 1977 after he left to form no-wavers DNA), Allen Ravenstine (synths) and Scott Krauss (drums) in the band’s original line-up. Together they “combined art and garage rock – synth whines, cut-up tape loops, atonal howling and chronic distortion”. They released their first three singles on Thomas’ Hearthen label between 1975 – 1977.

These quickly established the band as one that was difficult to pigeonhole. They were instantly “recruited to ‘punk’ then gathering momentum as journalists continued to talk up the CBGB scene while monitoring the early stirrings of insurrection in London.” All this despite the prog rock like structure of “30 Seconds Over Toyko” and Thomas’ assertion that “our ambitions were considerably different from the Sex Pistols”, he saw punk as puerile and destructive, “Pere Ubu didn’t want to piss on rock music; they wanted to contribute to it, help it mature as an art form”. By 1978 and the release of “The Modern Dance” the band were primed to show the world they weren’t part of the reductive punk movement but closely related to their early ’70s inspirations such as Roxy Music, Captain Beefheart, Frank Zappa, Neu!, The Stooges, Brian Eno and The Soft Machine as well as their current peers The Residents, Joy Division, Cabaret Voltaire, A Certain Ratio, Scritti Politti, The Pop Group and Public Image Ltd.

An important thing to remember when listening to Pere Ubu is that they formed in Cleveland, Ohio, which was in the ’70s a shadow of its former glory as a giant in the iron industry. This permeates the music with a strong sense of solid concrete and a metallic feel. The band described their music as “industrial folk” and like their peers in Manchester, Sheffield and Liverpool their music spoke of the landscape in which they lived without actually referring to it lyrically. The harshness of Ravestine’s synths, the razor-sharp, mechanical riffs of new guitarist Tom Herman and the motorik rhythm section all added to this feeling of industrial buildings and decay as a back drop to their music. The band “waxed lyrical about the area in their first interviews: ore-loaded barge floating down the Cuyahoya; steel foundries pounding flat-out night and day; the glare from the blast furnaces bruising the night in hues of green and purple; belching chimneys and lattices of piping silhouetted against the sky.” “We thought it was magnificent … like going to an art museum or something” recollected singer David Thomas 20 years later.

The band saw music as multi dimensional and used Ravenstine’s synth and tape loops to invoke images in the mind’s eye. “I’ve always been into music more on a visual than aural level.” David Thomas said of Ravenstine in a NME interview in 1978, “He’s at the core of Ubu, I suppose. He’s a very unusual synthesizer player. He’s very purist with it, and he doesn’t even have a keyboard – instead he has a touch tone dial. He doesn’t want to combine anything musical with the synthesizer, because he feels – and rightly so, I think – that it’s a new instrument and should be treated as such.” Drummer Krauss agreed “He’d make a noise like a five-pound can with a whole bunch of bumble bees inside” said “Krauss then he’d change the wave form and it’d sound like a beach with a load of people on it. Ten seconds later, it’s flip to a freight car noise. The imagination-activating level was absolutely amazing.”

However, the music wasn’t all doom and industrial gloom. The Cleveland sense of humour came into play in the band’s lyrics. “Thomas is more of an ‘actor’ than a musician for whom surreal lyrics and student humour attenuate the dramatic force of the performance. Within the sound there is also a feeling of resigned fatalism, collective madness and rational fear.” Thomas’ vocals aren’t that a typical rock front man he “wails, yelps, gargles” and exploits the full gamut of human vocal sounds to enhance and underline the emotion he’s expressing. “Thomas never got “the modern dance”. The emotions were real, but everything else was a joke, just like the music which has a good laugh as well with, skipping along amid the destruction and anxiety as the singer asks to be humoured – “it was just a joke mon.”

All this combined to make an album that from the opener ‘Non Alignment Pact’’s “furious, deafening bacchanal of cryptic slogans, ungainly vocals, discordant strumming, electronic distortions and primordial pulsations”, through the title track’s sound “of primordial organic funk…which evokes the smoke of factory chimneys and the ordered structure of the production line”, the sweeping menacing winds of ‘Street Waves’ evoking the miasmic gust after a nuclear explosion, propelled at supersonic speed by a stop-start rhythm and invoking a prophetic vision of the apocalypse. Finally finishing with ‘Humor Me’’s jangly jesting undercut by the lyrics and atmosphere of despair.

For such a complex album that combined the world’s art and garage rock or as the band punningly put it “avant-garage”, it has gone on to be a direct or indirect influence on many bands and artists since. The most obvious of these would be the Pixies. Their sound, surreal lyrics and the appearance of singer Black Francis all echo Pere Ubu. It’s unlikely that the earliest works of TV on the Radio would have been the same without a trail having been blazed for them and modern underground rock bands like Liars and Oneida plough a similar furrow to that explored on “The Modern Dance”. Cult rocker Julian Cope also covered ‘Non Alignment Pact’, which seems to be an acknowledgement of the band’s importance by one of their post-punk peers. Like “Y” by The Pop Group mentioned at the start of this column, “The Modern Dance” tests the very boundaries of what music, particularly rock music, is capable of before it becomes a tuneless mess. It won’t be the easiest listen ever but “The Modern Dance” will reward those who stick with it and consume all of its intricacies.

You can listen to “The Modern Dance” here.

June was a month of extremes for my listening and buying habits.

It began with the purchase of two ambient music albums, the first was this year’s ‘Music for Real Airports’ by The Black Dog and the second was my favourite Brian Eno ambient record ‘Ambient 4: On Land’ from 1982. The connection between the two being that The Black Dog album is their own re-imagining of Eno’s critically acclaimed album ‘Ambient 1: Music for Airports’, which popularised the concept of ambient music. I won’t go into any more detail about the Eno and The Black Dog albums as I will explore ambient music more fully in August.

In the second half of June the swing-o-meter swerved into a noisier place. Again it was something old and something new that caught my attention. The former being Liars’ ‘Drum’s Not Dead’ from 2006, which the more I hear the more I understand why it gained such critical praise and is viewed as an important album for American alternative rock. Liars certainly know when to hit hard and when to allow the audience a breather, something I think I had always missed before. A tribal and troubling atmosphere informs the record and binds together an eclectic collection of songs. The latter was ‘Treats’, the debut album by Sleigh Bells that demands to be played loud. What surprised me most about ‘Treats’ was the variety of styles covered within what seems a limiting set-up and aesthetic the duo have chosen. Hats off to them for producing such an impressive work, and possibly the debut of the year, that lives up to the hype and is a breath of fresh air .

The final week brought another dramatic swing with the previewing of Big Boi’s (OutKast) new solo album, ‘Sir Lucious Left Foot: The Son of Chico Dusty’ which is out today. His buoyant sound makes what is arguably the best commercial hip-hop album that been released for a year or two and I believe that it should have followed ‘Speakerboxx/The Love Below’ or could even have been the ‘Speakerboxx’ disc. I had also felt that Big Boi was the less talented OutKast member but he’s proving to be Andre 3000’s equal. The spotlight is on Andre 3000 as we wait for his solo album and the next OutKast album and on this evidence I can’t wait!!

Spotify playlist:

June Playlist

June Playlist

Recommended Releases – July:

Big Boi – ‘Sir Lucious Left Foot: The Son of Chico Dusty’ (Mercury) 5th July

Health – ‘Disco 2’ (City Slang) 5th July

Autechre – ‘Move of Ten’ (Warp) 12th July

M.I.A. – ‘MAYA’ (XL) 12th July

Janelle Monáe – ‘The Archandroid’ (Baby Boy/Atlantic) 12th July

School of Seven Bells – ‘Disconnected from Desire’ (Full Time Hobby) 12th July

Tobacco – ‘Maniac Meat’ (Anti-) 12th July *

Walter Gibbons – ‘Jungle Music’ (Strut) 19th July

Propaganda – ‘A Secret Wish (25th Anniversary Deluxe Edition)’ (Salvo) 19th July

Charanjit Singh – ‘Synthesizing: Ten Ragas to a Disco Beat’ (Bombay Connection) 19th July

* Put back two weeks from 26th June

March was another strong month and began with my first gig of the year watching the brilliant Errors at Brudenell Social Club in Leeds. I’d had the pleasure of seeing them at the end of 2008 at The Faversham (also in Leeds) and was looking forward to hearing their new material live. Errors didn’t let me down and played with a new confidence and clarity showcasing just how strong a set of songs they have and how underrated they are. Listening to their debut album ‘It’s Not Something But It Is Like Whatever’ the day before the gig brought home to me how much I’d underrated it myself and how I’d misjudged it as having a cold, overcomplicated sound.

At the gig I bought the new album ‘Come Down with Me’ and it’s been a regular feature on my stereo since. Initially it seems they haven’t progressed much from their debut but repeated listening reveals a melodically stronger proposition imbued with the same confidence displayed during their set. If you enjoy post-rock and the more demanding genres of synth-led music and want to hear something different then I recommend Errors whole heartedly.

The following week I got my hands on the new Gorillaz album ‘Plastic Beach’ and was not disappointed by the contents within. It is some of best work Damon Albarn has ever created, representing a synthesis of all that he has learnt and experienced in the Gorillaz’s life span and his earlier career with Blur. The beautiful orchestral tracks that bookend the album and some of the arrangements across the album hinted at lessons learnt while composing the Chinese opera ‘Monkey: Journey to the West’ in 2007. While album highlights ‘On Melancholy Hill’ and ‘Broken’ hint at The Kinks influence that was so crucial on early Blur albums. The major differences with ‘Plastic Beach’ compared to other Gorillaz albums is that it never feels like Albarn is relying on his many guests, instead they are perfectly assimilated into the music and the album is composed as a conceptual whole and should be listened to as such. In the accompanying DVD, Albarn talks to Yukimi Nagano of Little Dragon, who guests on the album, about how listeners now consume music in a fragmented way and so he was trying to create something diverse enough so that tracks worked in isolation and as one suite. It wasn’t easy to pick but my favourite guest is Bobby Womack. He is probably the most surprising inclusion but a touch of genius and his contributions are not only musically outstanding but help cement the pieces together. I’ve yet to access all the on-line extras but can’t wait to as I feel this will complete the experience that Albarn and his creative partner Jamie Hewlett have realised.

Aside from this, I’ve begun to unravel one of the most frustrating bands I’ve ever encountered… Liars. The NYC-based experimentalists are a band I was drawn to on the release of their 2001 debut ‘They Threw Us All in a Trench and Stuck A Monument on Top’. I enjoyed it’s terse post-punk racket but I have pretty much ignored them since 2004, finding them increasingly difficult to like.

After recently stumbling upon their allmusic.com page I became curious about what they had done since and listened to three of their albums, still frustrated but intrigued by what I heard so I bought the 2CD edition of their new album ‘Sisterworld’ and these songs thrilled me. It shows the band emerging from the murky production that was so difficult to pierce and demonstrates their skills. From Siouxsie and the Banshees-style slivers of guitar to full on pulverizing punk, Liars have created a great record of depth, breadth and welcome unpredictability. The remix disc provides new perspectives on the material and though not all of them are successful, it’s certainly worth the extra money, as is the clever packaging. ‘Sisterworld’ drew me to listening to the old Liars albums and so far my previous conceptions of them were wrong, with the exception of their second album ‘They Were Wrong, So We Drowned’ (2004).

To round off March, I purchased February’s Gil Scott-Heron comeback ‘I’m New Here’ and Wire magazine’s Album of the Year 2008 ‘London Zoo’ by The Bug. Both interestingly have had the tag dubstep lazily tossed in their direction by some journalists. There is a hint of truth to this but it’s by no means an explicit influence. Scott-Heron’s album casts his voice in a blues mode, which he hasn’t previously explored and the production compliments this as well as playing on his influence on hip-hop and trip-hop – this possibly being the cause of the dubstep label. ‘I’m New Here’ explores an intense emotional terrain and is definitely a lights out at 3am listen.

The Bug (Kevin Martin) has as recently as November 2009 declared, when speaking about his King Midas Sound project with FACT magazine, that his music has nothing to do with dubstep. ‘London Zoo’ has more in common with ragga/dancehall yet Martin makes the sound his own with a unique production style and his understanding of reggae and how to execute it appears to, outside of Jamaica, be unequalled.

Somehow last month I had looked over mentioning Lonelady, whose album I have delved into. ‘Nerve Up’ mixes austere post-punk influences like early REM, Gang of Four and Joy Division with spare drum machine beats and her singular voice to immense effect.  I also failed to mention the new album by The Fall ‘Your Future, Our Clutter’ and though I haven’t heard it, they are always worth checking out.

Spotify playlist (HTTP link, then Spotify link):

March 2010 playlist

March 2010 playlist

Recommendations for April:

Nice Nice – “Extra Wow” – 5th April

Gil Scott-Heron – “Winter in America” (reissue) – 12th April

Caribou – “Swim” – 19th April

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