Tag Archive: Sleigh Bells


Welcome to the first proper post of 2017. Some people reading the blog last year may have noticed that I tried to review more music by women, in fact I was trying to strike a 50-50 balance between the music I reviewed that was by men and music that I reviewed that was by women. I managed to get that balance. This year and beyond I want to try and achieve that balance in my own music collection. I know that I may never reach a 50-50 split as there are just less women making music but I feel like I manage to balance these things in the rest of my life (films, T.V. podcasts etc.) While the music industry seems uninterested in pushing women to the forefront of music (other than pop music). I personally love and respect women both in general and in terms of artistic expression especially in music but feel that my music collection doesn’t necessarily reflect it enough. So I want to tackle this lack of balance in my own collection and hope we can all spread this positive message far and wide.

I’ve come across lots of talented artists/bands/producers but I’ve decided to ask for some recommendations as female bands/artists/producers struggle to gain the same amount of attention as their male peers. To help with the recommendations process I have created a list of music that I own by/or featuring women. I hope that this list gives you an idea of my taste and avoids people recommending artists or releases that I already own. I’ve also included a list of priority purchases so you know what I’ve got in mind to buy in the future. I’d buy them all but my benefit won’t allow for that and I will still buy some music by men as this is about striking a balance rather than cutting something out completely. .

I’ve set up a new Twitter account, @HerSonicFiction, where I’ll share what female artists I’m listening to now. Feel free to Tweet your recommendations at me or put them in the comments below. If we can all use #HerSonicFiction then we can introduce each other to some great female artists and encourage even more people to listen to and buy music by women.

Albums I already own

Kate Bush – “Hounds of Love”

Elza Soares – “Woman at the End of the World”

Thao & the Get Down Stay Down – “Man Alive”

Lindstrom & Christabelle – “Real Life is no Cool”

Solange – “A Seat at the Table” & “True”

Aretha Franklin – “The Very Best Of”, “Amazing Grace” & “Lady Soul”

The Staple Singers – “Be Altitude: Respect Yourself”

The Slits – “Cut”

Erase Errata – “At Crystal Palace”

M.I.A – “Arular” & “Kala”

Julia Holter – “Ekstasis”, “Tragedy” & “Loud City Song”

Deerhoof – “Offend Maggie” & “Breakup Song”

Stereolab – “Emperor Tomato Ketchup” & “Mars Audiac Quartet”

Colleen – “Captain of None”

Bjork – “Post” & “Medulla”

Erykah Badu – “New Amerykah Part One: 4th World War”

Neneh Cherry & The Thing – “The Cherry Thing”

Junglepussy – “Pregnant with Succcess”

Suzanne Ciani – “Lixiviation 1969-1985”

Kelis – “Tasty” & “Kaleidoscope”

Ikara Colt – “Chat and Business”

Janelle Monae – “The Archandroid” & “The Electric Lady”

New Order – “Technique”

Pixies – “Come On Pilgrim”, “Surfer Rosa” & “Doolittle”

Thee Satisfaction – “Awe Naturale”, Transitions”, “THEESatisfaction Loves Erykah Badu”, “Snow Motion” & “EarthEE”

Sleigh Bells – “Treats”

Patti Smith – “Horses”

Solex “Solex vs Hitmeister”

The Raincoats – “The Raincoats”, “Odyshape” & “The Kitchen Tapes”

Talking Heads – “Talking Heads ’77”, “More Songs About Buildings & Food”, “Fear of Music” & “Remain in Light”

Tom Tom Club – “Tom Tom Club”

Tamikrest – “Chatma”

Tune-Yards – “Nikki Nack” & “Who Kill”

Yeah Yeah Yeah’s – “Fever to Tell”, “Show Your Bones”, “Its Blitz” & “Mosquito”

Jamila Woods – “Heavn”

NoName – “Telefone”

female-pressure – Various Artists – “Music- Awareness & Solidarity w- Rojava Revolution”

Priority purchases:

more Kate Bush – suggestions very welcome

Lauryn Hill – “The Miseducation of Lauryn Hill”

Missy Elliott – “Miss E…So Addictive” & “Under Construction”

FKA Twigs – “LP1”

Kaitlyn Aurelia Smith – “EARS”

Dawn Richard – “Redemption”

In a slight change from the usual I’ve included a section on releases that we didn’t recommend but liked (to varying degress) during January and February. The other change is that the post was getting so long that we’ve created a separate post for March’s recommendations.

Some releases we missed in January and February

Air – “La Voyage Dans La Lune” (Astralwerks Records)

This new soundtrack album for the George Melies short film of the same name is a return to form for Air who seemed to have lost their way in the last few years. Though the album sticks to a lot of soundtrack staples timpani, strings, brass, analogue synths and signifiers it’s still an effective and enjoyable listen. The album is reasonable varied but tracks generally fall into two camps that more obvious soundtrack pieces based around piano, timpani and strings – ‘Astronomic Club’, ‘Retour Sur Terre’, ‘Moon Fever’, ‘Who Am I Now’ (which strongly recalls Popol Vuh’s soundtrack work) and closing track ‘Lava’ and more upbeat groove driven tracks – ‘Seven Stars’ with its heavy bass groove & flapping drums pattern, the thundering drums and the prog rock sci-fi synths of ‘Parade’ and ‘Sonic Armada’ and ‘Cosmic Trip’s twinkling synths, driving bass and breakbeats. Though the album loses direction and fails to deliver its ideas towards the end it’s still well worth checking out, especially as it comes with a DVD of Melies masterpiece.

Nina Kraviz – “Nina Kraviz” (ReKids Records)

Russian DJ Nina Kraviz has released previously for Cocoon and Bpitch and played DJ sets in some of Europe’s best-known clubs with a residency at Moscow’s Propaganda club. Her self-titled and self-produced debut album serves to solidify the progress made so far without deviating from the emotive deep house she is known for. “Nina Kraviz” is a highly personal and intimate album; her voice, usually the first take recording, dominates over deep house grooves and luxuriant synthesisers. The album’s highlights, such as ‘Working’, ‘Fire’ ‘False Attraction’ and the chilly techno of ‘4 Ben’ (which is rumoured to be dedicated to her boyfriend Ben Klock, the DJ and producer) showcase Kraviz’s knowledge of constructing DJ sets that build and drop then punch at the right moment. ‘Working’ is one example of her ability to tease the audience by gradually and urgently elevating the tension then ending on a sudden climax. Overall, though, “Nina Kraviz” is hit and miss; a few inclusions, such as ‘Taxi Talk’ and ‘Choices’, don’t add anything to the album’s narrative and for the number that don’t quite deliver it is perhaps too long at 14 tracks. Transitioning from DJing and producing 12”s to releasing an album can be a difficult feat; “Nina Kraviz” proves this. While not an essential techno/house release it is evident that Kraviz has worked hard to try to make the album sit together like a cohesive DJ set and the highlights are a testament to this, making it a release that is worth checking out.

Black Bananas – “Rad Times Xpress IV”  (Drag City)

Black Bananas is a new project from Jennifer Herrema (ex-Royal Trux) that maintains the line-up of previous project RTX but subtle changes the bands overall sound. Where previously the dominate sound was a lo-fi take on rock ‘n’ roll and classic 70’s rock they are replaced by a sound derived from the 70’s P-Funk pioneers Parliament/Funkadelic. The guitar techniques of P-Funk guitarist Eddie Hazel are particularly prominent though this is no bad thing another influence that instantly jump out are the Dub of King Tubby and Lee ‘Scratch Perry. What’s most surprising and indeed pleasing is the album’s pop music feel where I expected an overly lo-fi album covered in fuzz and the smeared sound that lo-fi recording creates I was instead present with a mix that was balanced between the dirty elements and those with more clarity. Herrerma hasn’t changed over the years and though the music content has shifted slightly the lyrical content remains the same, she’s a rock ‘n’ roller and always will be this isn’t a real problem on this album and suits the music well. This isn’t ‘serious music’ per se and shouldn’t be treated as such, it’s a dirty pop thrill and all the better for it. If this a permanent change of direction then Herrema may well find a seam that she dig into, if not then at least we have this gem of an album. Check out the album’s title track here.

Claro Intelecto – “Second Blood” EP (Delsin)

“Second Blood” is an elegantly slow, almost seductive EP released on the Netherland’s Delsin label, which is also home to Redshape and analogue-loyal techno producer Morphosis. The title track contains static hisses and an agile, skulking synth that is pulled along by the considerate use of side-chaining on every bar which gives the bass line a cushioned effect under airy chords. ‘Heart’ is woozy and lethargic, recalling Wolfgang Voigt’s GAS in its use of placid ambience and the barely-there bass drum.  At 115bpm, ‘Voyeurism’ is the EP’s fastest track. The softly pumping chords and arpeggio synth line are near dub-techno. After the lethargy of the two previous tracks the seductively grooving bass line gives ‘Voyeurism’ a spirited potency while a round bass drums push the track forward. “Second Blood” is a brilliant downtempo techno EP from an artist who infrequently releases material.

Ekoplekz – “Dromilly Vale EP” (Public Information Records)

Ekoplekz’s new EP for Public Information is a more abstract and sounds similar to some of the tracks on his “Intrusive Incidentals Vol. 1” album from last year. This combined with a structural arcs were tracks start off relatively sparse before building into dense collages of synths, organ and sound effects. If I had to pick highlights (the whole EP is excellent) they’d be the dissonant ‘Jugglin’ Fer Jesus’ (which title is a play on Ekoplekz hero’s Cabaret Voltaire’s ‘Sluggin’ Fer Jesus’) and ‘Clayton Freak’ with its slow creepy feel of horror movie and BBC Radiophonic material. The whole EP is shoot through the Ekoplekz own brand of dub delirium and is all the better for it. The bonus tracks are well worth the price of an e-mail address, one being a Dub mix of the EP’s other BBC Radiophonic Workshop influenced track ‘Dick Mill’s Blues’ and ‘Rotamotion’ a lighter bubbling take on the dark dance material of Ekoplekz’s recent “Westerleigh Works EP” for Perc Trax.

Biggest Disappointment of the Month

Harmonious Thelonius – “Listens” (Italic Records)

The abrasive combination of American minimalism’s condensed patterns, European melodies and African-inspired rhythms that made “Talking”, Harmonious Thelonious’ (Stefan Schwander) debut album, sound so raw, urgent and exceptional are replaced by a more accessible, light South American-style palette and a larger focus on melody. Yet the mix is overly compressed leaving “Listen” sounding flat and airless with nothing to allow the melodies to shine or excite. It is my understanding that the album was recorded in a studio yet audience noise can be heard in the background, which seems like a poor attempt to inject interest into lifeless tracks. As with his previous album, Schwander’s passion and knowledge of these musical styles are clear and while there are glimpses that prove there is more territory to explore in this direction, there is very little, save the rich, complex ‘Drums Of Steel’ and ‘Trans-Harmonic System’, that has the grit, energy and, ultimately, the excitement of “Talking”.

Sleigh Bells – “Reign of Terror” (Mom & Pop)

A disappointing return for an act that promised so much two years ago. ‘Reign of Terror’ won’t be getting many repeat plays by me. It’s not all bad in fact the band show that they’ve progressed with new ethereal sounds and digital synths a recurring presence throughout the album. However, the band rarely convince on ‘Reign of Terror’ which is severely lacking in the ‘can’t get out of brain’ hooks department, the whole thing comes off a little flat. In addition to this the band’s love of 80’s hair metal aesthetics quick becomes grating, the opening track (‘True Shred Guitar’)  a particularly cringe worthy example of this with its crowd noise and the AC/DC riff that follows falls flat too. Nothing on this album comes close to what the band had previously achieved though it shows that they aren’t one trick ponies it’s just their other tricks aren’t that good unfortunately.

Olafur Arnalds – “Another Happy Day OST” (Erased Tapes)

Olafur Arnalds soundtrack for the film “Another Happy Day” does what it says on, fulfilling its purpose though a majority of the songs failure to translate without the images it accompanies. This by no means a bad album and the highlights, the haunting ‘Poland’, the creepy and foreboding ‘Out to Sea’ and the opener ‘Land of Nod’ are all great additions to Arnalds back catalogue. However the rest of the album leaves a little to be desired, yes they work on a functional level and there’s nothing wrong with that but they don’t rise to the heights of Arnalds last album ‘… And They Escaped The Weight of Darkness’ (2010). Perhaps the biggest disappointment is the closing track ‘Everything Must Change’ after spending half of the track six and a half minute length bringing the tracks main elements (twinkling piano, scratchy pizzicato violin, a deep doomy bass line, clattering reverb heavy percussion and ghostly voices and violin) only for when the whole thing starts to coalesce to drop everything to a lone violin, a massive anti climax that destroys the tension and energy that had been built up.

The Belbury Poly – “The Belbury Tales” (Ghost Box)

“The Belbury Tales” is a very 50/50 album while some tracks are little more than good facsimiles of their influences others (especially in the album’s second half) manage to rise above being the sum of their parts and match more recent production techniques and style particularly hip-hop style breakbeats into an already heady and complex brew. The first half of the record suggests good ideas with its mix of elements but fails to deliver sounding flat and unimaginative, it’s hard to pinpoint why these tracks fail whereas the second includes a handful of gems. These include the gorgeous interweaving synth melodies of ‘Summer Round’, the fuzz coated ‘Chapel Perilous’, the irresistibly funky ‘Goat Foot’, and the chilling ‘My Hands’. The first reference point that springs to mind is Broadcast and The Focus Groups “…Investigate Witch Cults of The Radio Age” but with a the use of guitars, bass, drums, ocarina, zithers and melodica adding energy and a wider colour palette. When the album hits its heights it’ll put a smile on your face but for the remainder of the tracks its just mildly diverting.

Loops of Your Heart – “And Never Ending Nights” (Magazine Records)

“And Never Ending Nights” is true to traditional kosmische musik artists, in particular, Cluster whose albums were created using a small palette of instruments, sounds and textures.  In the absence of drums, the synthesiser arpeggios create the rhythm. Thick basslines are balanced by synths that shimmer, cut and swell; fast arpeggios provide mantra-like qualities over ethereal pads. In “And Never Ending Nights”, Axel Willner has provided another example of the German electronic music practice of letting the music flow albeit in a controlled manner, which creates most of its tension, while, as with his main project The Field, showcasing his skill in restrained and effective song writing.  The album is a lesson in simplicity and stripped composition and the mid-section provides the highlights; ‘End’ and ‘Cries’ are two of Willner’s most emotive compositions yet while ‘Neukölln’ and  ‘Lost In The Mirror’ are the most transparent in revealing the German influences. The former, named after a Berlin district, features the voices of young children speaking German under layers of synths that gently swell and wobble in the style of Cluster and aesthetics of Harmonia.

Peter Broderick – “http://www.itstartshear.com” (Bella Union)

The new album by Peter Broderick picks up where he left with his last solo release “Music for Confluence” left off and features the same basic instrumentation acoustic/electric guitar, piano and violin. However, there are subtle and not so subtle ways this album manages to differentiate its self from “Music for Confluence”, firstly this isn’t a film soundtrack and thus allows Broderick more freedom of expression. The most obvious ways this freedom is expressed is the album brighter and sometimes more upbeat sound and the fact that Broderick’s lead vocals (which sometimes sound a little like Arthur Russell) dominate whereas only backing vocals were present on “Music for Confluence”. In fact the album features a lot more melodic materials full stop and married with Broderick’s expert use of harmony, reverb and others effects to create atmosphere it makes for much more dynamic material. Throughout the album Broderick successfully tightrope walks between accessibility and push the listener beyond their expectations. He achieves not only with his melodic work and use of effects but also unpredictable song structures on ‘With The Notes on Fire’ (like two songs in one), ‘Colin’ (which initially sounds like the rest of the album before the introduction of percussion pushes the song in a new direction and ‘Asleep’ and its use of crowd source readings of the lyrics from around the world that disorient and delight in equal measure. “Music for Confluence” is a great album and “http://www.itstartshear.com” is its equal and perfect companion piece.

Contender for Debut Album of the Year

Ital – “Hive Mind” (Planet Mu)

Ital’s debut album makes for an interesting listening experience, though this is dance music, it’s unlike to set many dance floors alight. However, this doesn’t make it the album a failure; in fact its inverting of house and techno music structures is a thrilling and disorienting experience. Though by no means a direct comparison its seems that Ital is attempting something similar to Axel Willner aka The Field though Willner inverts the structures of techno, Ital disrupts and stretches them to their limits. Another indirect reference point is that of Cabaret Voltaire’s 80’s era music (and founder Richard H. Kirk’s work as part of Sweet Exorcist, recently anthologised by Warp Records) this seems to a constant in the drum and the influence crops up most obvious on ‘First Wave’ with added disorienting rhythms and synths. The most obvious direct influence outside of dance music is the kosmiche musick of Cluster, Harmonia and to a less extent Tangerine Dream, in fact ‘Floridian Void’ (the highlight of the album) sounds a little like a dark techno take on fellow American kosmiche musick enthusiast Emeralds. I feel sure that the debate about ‘Hive Mind’ will continue throughout the year as it could well turn to be one of those albums the confounds and confuses as much as it thrills and provokes thoughtful analysis.

Top Release of the Month

Blondes – “Blondes” (RVNG ITNL)

Blondes self titled debut album is one that hard to do justice to without its sounding like a repetitive bore-fest, which it is far from. The duo fit into both the modern dance music camp alongside the likes of The Field, Gui Boratto and other Kompakt techno alumni and alongside modern Ambient and hynagogic pop acts such as Laurel Halo, Teengirl Fantasy and Rene Hell amongst others. Blondes manage to fuse these two opposites together in way that plays to the strengths of both, you never feel the dance elements are getting bogged down by the atmospherics or that the atmospherics are dominated by the dance elements. The duo encompass a range of emotions across the album from the brighter tracks like ‘Gold’ and ‘Amber’ to the dark and subdued ‘Pleasure via drowned Kraftwerkian synth work on ‘Business’ and foggy tension of ‘Water’. One of the album’s strength is that despite the amount of recycling there is (every second track is a re-versioning of the previous track) the variety on show is impressive as is the duo’s ability to keep the listener engaged and excited by these same/similar elements. Blondes have not only created a contender for Debut Album of the Year but an early contender for the Album of the Year itself.

January was a surprisingly busy month with the music industry stopping only to catch its breath over Christmas and New Year before getting back into the swing of things straight away. Annoyingly there’s has been a lot of confusion over two of the albums we recommended so we’ve not been able to pass comment on Harmonious Thelonious “Listens” and Loop of Your Heart’s ” And Never Ending Nights”.

Biggest Disappointment of the Month

Matthew Dear – “Headcage EP” (Ghostly International)

Matthew Dear’s “Headcage” EP is not so much a disappointment as a mixed bag that doesn’t quite achieve its aims though overall Dear comes out on top. The title track sets the tone with the influence of Brian Eno and Jon Hassell’s Fourth Music and modern synth music artists Oneohtrix Point Never and Laurel Halo. In fact ‘Headcage’ reminds me of ‘Head’ by Laurel Halo only 95% of mix hasn’t been drowned in reverb. The biggest disappointment is ‘In The Middle (I Met You There) feat. Johnny Pierce the song starts well enough with Dear’s pitched vocals and moody synths but when the music drops and Pierce’s vocals come in it’s a big letdown from then on. Things pick up a little with ‘Street Song’ the lead synth melody recalling Oneohtrix Point Never and Dear producing some pleasing tricks with his vocals, however these ideas aren’t developed fully and the song peters out. Finally ‘Around A Fountain’ reaches the heights of the title track with heavily compressed percussion, sighing backing vocals and Dear’s processed lead vocals dominating the intro before the lead vocal enters and gives the track a central focus, this is glues the track together. The track recalls similar influences to the others and Talking Heads. Though not firing on all cylinders on this EP it still feels like Dear will probably deliver on his new album “Beams” due later this year.

Oliveray – “Wonders” (Erased Tapes)

The début album by Oliveray (aka Peter Broderick and Nils Frahms) switches between vocal lead folk songs and ambient instrumentals, though even the folk tracks are grounded in ambience. Multi instrumentalist Broderick’s guitar/violin compliment Frahms vocals and piano even when Broderick push into harder or more abstract sounds. Though I prefer the instrumentals (Frahms voice is still growing on me) their cover of ‘Harmonics’ by Efterklang and album closer ‘Dreamer’ both hit the spot. Of the ambient pieces organic opener ‘Growing Waterwings’, the effects heavy ambience of ‘Piano in the Pond’ and the desolate twanging guitar and soft reverbed piano of ‘Hiding Hydiration’ stand out. Though this album doesn’t match Broderick’s recent solo album “Music For Confluence” (or A Winged Victory for the Sullen self titled début which also featured Broderick) it’s well worth investigation. I’ve only scratched the surface of both these artists vast back catalogues and so this may well turn to be one of the finest efforts of their repetitive careers to date and the album does feel like a grower.

Ekoplekz – “Westerleigh Works EP” (Perc Trax)

This EP has been talked about/marketed as Ekoplekz’s first venture into dance floor territory and listening to it you can hear why. However, Ekplekz still keeps his trademark sounds front and centre but the EP uses space more effectively and percussive sounds and deep bass provide the forward motion need. Of the three originals ‘Ekoplatz’ sounds most like his previous material while being underpinned by techno bass and percussion, the other two ‘Narco Samba’ and ‘Xylem Teardrops’ fill more stripped and danceable, while Richard H. Kirk (Cabaret Voltaire) remix of ‘Ekoplatz’ follows a similar template but adds electronic woodblocks, more structural dynamics and some of Kirk’s own idiosyncratic dub sounds. A highly recommended release for those into the darker side of dance music.

Early Contender for Debut Album of the Year

Islet – “Illuminted People”

Islet’s “Illuminated People is a confident and self-assured debut album from an ambitious band fusing together influences that seem to range from the Yeah Yeah Yeahs to Fuck Buttons via the Boredoms, shoegaze and folk music. The opening one-two punch of ‘Libra Man’ and ‘This Fortune’ perfectly demonstrate the band ability to bring together these influences to forge their own sound and also that their not just about the sonics but the tunes too. The briefly slacken the pace of the intro of ‘Entwined Pines’ before the drums double up and the tension builds before dropping to a Cocteau Twins style verse before post-punk guitars and synth grind away for the second of the song. ‘What We Done Wrong’ repeats the same trick but with male and female vocals play off each other. Islet show they can do subtle and simple on the folk-y ‘We Bow’ and soft vocals and feedback of  ‘A Warrior Who Longs to Grow Herbs’. The album gets even more eclectic in its second half with two post-rock style songs in ‘Filia’ and ‘Funicular’, the drum machine and tropical sounding synths of ‘Shores’ and the album closer ‘A Bear On Its Own’  with its creepy stabby synth outro, stuttering organ and duelling male and female vocals. My only really complaint is that one of the male vocalist struggles to make his notes in a way that grates other than that this is an impressive and memorable debut album from a band who could have a bright future.

Top Release of the Month

Errors – “Have Some Faith In Magic” (Rock Action)

Errors have been steadily evolving their own sound since their début EP back in 2006 and new album “Have Some Faith In Magic” is no different. What’s interesting about this album is how it seems to refer more modern influences such as James Ferraro and the chillwave/hypnagogic pop acts he has inspired so the newly introduced vocals come coated in reverb and sometimes other effects and there’s a simmering quality and multi coloured feel to the music. In addition this the band fine melodic and structural sense is not only still in place but has moved on another step, enough that they attract attention outside of their cult fan base. Particularly potent tunes include the single ‘Pleasure Palaces’ and its dance floor grooves which remind me of Washed Out and Blondes, the spritely soul inspired rhythms of ‘Barton Spring’ and ‘Blank Media’’s one of the simplest songs the band have written, which they pull off with aplomb. Elsewhere there’s almost rock guitar on opener ‘Tusk’ which also introduces one of the albums dominate sounds that of the twinkling arpeggio, however the songs are so varied that this recurring sound doesn’t grate. I had high hopes for this album after hearing ‘Magna Encarta’ and ‘Earthscore’ and Errors have met them and overcome the problems commonly associated with making a bigger leap in the evolution of a bands sound. They’ve written music that not only moves them forward but also seems primed for the bigger stages they’ll play on this year, after one play it feels this album and band can only get better.

Recommendations – February

Marcel Dettmann – “Landscape” out now (Music Man Records)

Released on the same label as his “Conducted” mix and following on from the “Translation” EP, the key feature of ‘Landscape’ is a muted melody that swells and deflates under Dettmann’s trademark thudding and scraping drums, providing a pivotal building-to-peak-time track for a DJ to throw in a set. A remix from the upcoming Answer Code Request pushes ‘Landscape’ into the pure peak time territory that the original teases the listener with.

Harmonious Thelonious – “Listens” out now (Italic)

Italic will release the follow-up to 2010’s Congotronics influenced ‘Talking’ with an new album that we at Sonic Fiction hope continues this artist’s unique combination of “American minimalism vs. African drumming vs. European sequencing”.

Blondes – “Blondes” 6th February (RVNG Itnl)

The début album from one of our favourite new acts on Sonic Fiction on RVNG Itnl who are shaping up to be the label of year (can’t wait for Julia Holter and the Sun Araw/The Congos collaboration albums later this year). The album collects together the duo’s pureistic and all analogue 12″ singles from last year plus a extra disc of remixes featuring the likes of Laurel Halo, Rene Hell and Teengirl Fantasy among others. Despite this pureistic approach this isn’t dance music by numbers and seems to incoraparate some influences from ambient music and the kosmische music of Cluster and their current peers such as Halo and Hell. Stream Blondes album here.

Loops Of Your Heart – ‘And Never Ending Nights’ 13th February (Magazine Records)

After his career ascension with “Looping State Of Mind”, The Field (Axel Willner) has created the side project Loops Of Your Heart. “And Never Ending Nights” is immersed in German influence and celebrates the country’s tradition of musical restraint that is exemplified in kosmiche musik names such as Cluster and Harmonia. The sampled voices of children speaking German on the lead track “Neukölln”, named after the Berlin district.

Peter Broderick – “http://www.itstartshear.com” 20th February 2012 (Bella Union)

Broderick’s new solo album is called “http://www.itstartshear.com” because though he has no problem with people downloading his music, Broderick sees the problems with pieces of information and artwork that can go missing and complete the experience. So he’s set-up a website where everything to do with the album can be accessed by anyone whatever format they’ve bought/got the album in.

Produced by Nils Frahm (Broderick’s partner in Oliveray) at his Durton Studio in Berlin and Broderick says “it is my first project on which the sonic timbre of the songs was treated equally as important as the music itself. I have been in awe of the sound on the many records coming out of Nils’ studio over the last couple years, so I thank him deeply for helping me to explore a richer, wider sonic landscape.”

Ital – “Hive Mind” 20th February (Planet Mu)

The début album from Daniel Martin-McCormick under his Ital guise is an album that early reviews and pre-release track suggest stretches the definition of dance music. Made up of five longform tracks that build upon last year 12″ releases on 100% Silk and takes his dirty, dubby and psychedelic sound further out. Tracks like ‘Floridian Void’ seem to bring together sounds from Martin-McCormick’s entire career thus far from the solo synth based noise project Sex Worker, through the brutal dance-punk of Mi Ami and with the D-I-Y attitude of his first band the hardcore punks Black Eyes. This is dance music in structure but not by design.

Sleigh Bells – ‘Reign of Terror’ 20th February (Mom & Pop)

The second album from Sleigh Bells promise more of the noisy pop of their début “Treats” but with a darker more gothic edge added to the overall tone. The main changes seems to be that pre-release tracks “Born to Lose” and “Comeback Kid” is that though the tracks are less in-your-face than before they still possessed extraordinary power. Meanwhile the Alexis Krauss’ vocals have become more ethereal adding a new creepy edge to the music.

Olafur Arnalds – “Another Happy Day OST”  27th February (Erased Tapes)

Like label mate Nils Frahms Olafur Arnalds is a young modern classical pianist with a prolific output. This latest release provides the soundtrack for Sam Levinson’s “Another Happy Day” starring Ellen Barkin and Demi Moore and features the beautiful and delicate ‘Poland’.

Belbury Poly – “The Belbury Tales” 27th February (Ghost Box)

The fourth album from Belbury Poly (aka Ghost Box co-founder Jim Jupp) is a heavily influenced by 1970’s folk-prog acts such as Caravan though in a recent FACT interview Jupp said he hadn’t made a prog album per se but that “While the sound and feel of British prog is an influence on The Belbury Tales, it’s only one element. It’s not a prog rock album, I don’t think; it has just as much to do with TV soundtracks, library music, kosmische and psychedelic rock.” The four clips that are available to stream via Soundcloud certainly fit this description. FACT say the album fits into the Belbury Poly and Ghost Box aesthetic but with a more organic and live feel thanks to the contributions of guest musicians Christopher Budd (bass and electric guitar) and Jim Musgrave (drums) a first for a Belbury Poly release. Jupp also adds zithers, melodica, ocarina and sampled vocals to the mix. The clips leave the listen intrigued but we’ll have to wait to find out what the whole album sounds like.

Liam’s Albums of the Year 2010

I think its been a very strong year for music overall and a step up from 2009, though there’s been some high-profile disappointments e.g. Four Tet, MIA, Maximum Balloon etc the real musical landscape seems in a very health state and I think our review of the year bears this out. We’ve both tried to consider what and who has defined the year as well as our own tastes.

1. Oneohtrix Point Never – ‘Returnal’ (Editions Mego)

In any other year this wouldn’t have been anywhere near my Albums of the Year list but discovering Ambient music and  ‘Returnal’ itselfs excellence plus Oneohtrix’s dominance of year make this one un missable album.

2. Gorillaz – ‘Plastic Beach’ (EMI)

In terms of song based albums this was incredibly strong from the word go. Add to this the concept behind the album, its environmental message and the incendiary return of Bobby Womack. ‘Plastic Beach’ hangs together while cover an incredible range of musical genres including classical, Oriental, hip-hop, grime, electro, pop and rock to name but a few.

3. El Guincho – ‘Pop Negro’ (Young Turks)

El Guincho stepped his music up several gears on this his second album. Taking in Spanish pop, hip-hop, South American music and 80’s heartthrob Luther Vandross. This gave the album its unique sound combining crisp, heavy but danceable rhythms with a glossy production resulting in an album that always puts a smile on your face.

4. Konono No.1 – ‘Assume Crash Position’ (Crammed Discs)

This is another summer blockbuster, this time from Congo. Five years on from their début Konono No.1 returned and seemed to have completely flipped their formula on its head. Instead of the persistent distorted thumb pianos occupying the top of the mix they changed places with waves of reverb drenched sound that had previously hidden beneath them. This changed the sound dramatically creating a more relaxed atmosphere.

5. Mark McGuire – ‘Living with Yourself’ (Editions Mego)

2010 was a busy year for Mark McGuire as well as releasing Emeralds critically acclaimed ‘Does It Look Like I’m Here?’ he produced this his first properly distributed solo release. There’s a lot more space in this than Emeralds latest and ambience and melody share equal billing on this great guitar record.

6. Flying Lotus – ‘Cosmogramma’ (Warp)

With ‘Cosmogramma’ FlyLo has transcended any of the generic tags applied to his music. Yes there are snatches of hip-hop, jazz, chiptune, funk and soundtrack music sometimes all at once but the sound can never be pinned down. It may not quite live up to the hype that preceded it but its ambition takes it close.

7. Big Boi – ‘Sir Luscious Left Foot…’ (Def Jam)

I wasn’t a big fan of ‘Speakerboxx’ Big Boi’s side of the OutKast’s 2003 double album. But ‘Sir Luscious Left Foot…’ is completely different album stuffed full of phat, funky beats that could only come from a member of Atlanata’s finest.

8. Sun Araw – ‘On Patrol’ (Not Not Fun)

18 months ago I hadn’t even heard of Sun Araw, but since hearing his music for the first time this spring I’ve been pretty much addicted. This latest album brings new depth to his dub-infected beats and shimmering wah-wah freak outs. The atmosphere and noises go to the next level and I await his next full length journey with bated breath.

9. Lindstrom and Christabelle– ‘Real Life is No Cool’ (Smalltown Supersound)

Lindstrom took a break from his usual cosmic disco dabbling to create a credible pop record with irrepressible Christabelle. Despite its catchiness and production gloss Lindstrom still provides surprises and twists not traditionally found in pop. The highlight of this outstanding collection is the Dr. Dre aping ‘Lovesick’.

10. Matthew Dear – ‘Black City’ (Ghostly International)

Matthew Dear returned this year with a concept album that hung together brilliantly and restored the faith of those critics who’d deemed his earlier effort ‘Asa Breed’ erratic. The conceptual arch of the record made a real difference and makes for a darker but no less thrilling experience.

11. Hot Chip – ‘One Life Stand’ (EMI/DFA)

In some ways Hot Chip are their own worst enemies and this would have charted higher if it had more of the unpredictability of ‘Made In The Dark’. Having said that this record strikes a balance between warm and sweet and sentimental and sickly. Not an easy achievement by any means.

12. Errors – ‘Come Down with Me’ (Rock Action)

When this album I heard about this album I didn’t get that excited but as the release drew nearer I revisited their début and realised it was much better and warmer than I remembered. I had feared Errors would become a forgotten second tier post-rock band but instead they stepped up a gear with an album packed with highlights. Go see them live and buy the album you won’t regret it!!

13. Jamie Lidell – ‘Compass’ (Warp)

This album was definitely a grower at first half the material failed to make an impact on me; however repeat listening has paid dividends. Lidell has returned to his schizoid genre and mood hopping and this album benefits massively, from dust ball hip-hop of ‘The Ring’, the super deep bass of ‘She Needs Me’ and the desolate beauty of the title track.

14. The Black Dog – ‘Real Music for Airports’ (Soma)

Another great ambient album in that’s had a few (Oneohtrix, Emeralds etc), this time taking on the inventor and king of ambient music Eno himself and succeeding. Created using field recordings made in airports combined with synths, bass and beats The Black Dog blew Eno’s utopian ideal out of the water.

15. Baths – ‘Cerulean’ (Anticon)

I’ll admit that I’ve not been taken with Chillwave as it swept all before it in last year or so. Though Bath début album touches on similar sounds and ideas I believe (as do some journalists) that he isn’t a part of the genre. Baths cover everything from ambient instrumentals through to tracks featuring his angelic vocals and everything in between, his beat slip and slide with the elastic and liquid music that plays around them.

16. These New Puritans – ‘Hidden’ (Domino/Angular)

These New Puritans showed up a lot of their fellow ‘innovative’ indie bands this year by delivering this combination of medieval sounding brass and woodwinds, children’s choir and dancehall beats. It could have been a disaster but instead band leader Jack Barnett’s proved he is a great composer of ground breaking music.

17. Evan Caminiti – ‘West Winds’ (Three Lobed)

Since the end of last year and hearing Sunn O)))’s I’ve discovered more and more drone/doom metal music including Earth, Zaimph and Caminiti’s other project Barn Owl. This album is best of this year’s release and features seven of incredibly provocative pieces including one of my favourite tracks of this year ‘Glowing Sky’.

18. Janelle Monae – ‘The Archandroid’ (Bad Boy/Atlantic)

Like Flying Lotus Monae attempted to produce an ambitious sci-fi concept album and overall she succeeds, however during the second half of the album elements don’t gel as well and the last track could do with  being half as long. There are still many great moments but for now Monae shows the potential to become a truly great artist.

19. Kanye West – ‘My Beautiful Twisted Fantasy’ (Mercury)

This album would have easily been in my  Top Ten if it had only been released a couple of months earlier the lack of time to listen to and digest this means it just straps in because of its ambition and this point what seems to be a high proportion of great tracks.

20. Sleigh Bells – ‘Treats’ (Columbia)

When I first heard Sleigh Bells demos I’ll admit that I wasn’t 100% sure what all the fuss was about, I loved ‘Infinity Guitars’ but other than that they didn’t inspire. However, they’ve proved me wrong with this début album that blends cute pop vocals and melodies with crunching guitars and huge beats. A refreshing slap in the face from a band with a lot of potential to expand!!

Honourable mentions:

LCD Soundsystem – ‘This is Happening’

Caribou – ‘Swim’

Holy Fuck – ‘Latin’

Tobacco – ‘Maniac Meat’

Pocahaunted – ‘Make It Real’

Review of the Year – Observations

Two words seem to have loomed large for me musical this year Ambient and African. Both These types music that were almost completely new to me at the start of the year. Ambient music has actually helped change my perception of what music can be, I’d often dismissed it in the past as it wasn’t attention grabbing enough but I was missing the point. Though I still actively listen to it, I also use it while I work to help me focus (Brian Eno’s ‘Ambient#4: On Land’ is particularly good for this). Ambient has changed the way I choose what music to listen to and judge whether its good or not, I can appreciate subtlety much more.

Meanwhile I’ve gone from only having heard Konono No.1 and Amadou & Miriam to hearing King Sunny Ade, Tinariwen, Tony Allen, Fela Kuti, Mulatu Astake and compilations featuring Afrobeat, Funk and traditional music from Ghana, Nigeria, Benin and Togo. I’ve been most impressed by ‘African Scream Contest: Raw & Psychedelic Afro Sounds from Benin & Togo 70s’ (Analog Africa) which is pretty much as the title suggests, only don’t be expecting an African Hawkwind.

Finally I’ve noticed there’s been a massive increase in quality remix albums, it had seemed that they’d been completed derided and I couldn’t remember the last good/great one I heard. This year has been a bumper year, Health ‘Disco2’ is the pick of bunch 24 great and varied electronic remixes that putting the originals in brand new contexts. We were also treated to remix albums of Caribou (‘Swim Remixes’), Gonjasufi (‘The Califph’s Tea Party’), Errors (Celebrity Come Down With Me’), Bear In Heaven (Best Rest Forth Mouth’), the latest instalment in RVNG Records Frkwys series of remixes and collaborations that saw Juan Atkins, Hans-Joachim Irmer (Faust) and Gibby Hayes (Butthole Surfers) remixed (admittedly awful) psychedelic rock band Psychic Ills to stunning effect.

Vier’s Albums of the Year

20. The Knife, MT. Sims and Planningtorock – Tomorrow, In A Year (Brille): This was never going to be easy. The Knife don’t do easy. The first disk fights the listener at every step. It is confrontational, violent and refuses respite. It beats you into the place of  Charles Darwin, consumed by nervous excitement and anxiety as you walk on alien territory. The second disk offers some humanising introspection and displays The Knife’s (and their collaborators) powerful song writing ability to turn even routine biological observations into heartbreaking poetry. Tomorrow, In A Year isn’t enjoyable, it isn’t supposed to be. Much like Darwin’s vocation, you don’t have to like it or understand it but you must respect it and its objective.

19. Walls – Walls (Kompakt): Haunting and emotive, Walls’ blend of distant thumps and skewed vocals make a compelling, slow-grower.

18. Jatoma – Jatoma (Kompakt): A late entry to the list has given Jatoma a low position nonetheless the cloaked threesome’s debut deserves to be listened to. The sparkly, modulating synths and exacting drums hark back to Cluster and Kraftwerk and on the straighter dance tracks ‘Durian’ and ‘Bou’ the influence of The Field is channelled into gauzy loops and arpeggios.  This and Walls fit Kompakt perfectly and point the way to the next era of the Cologne label.

17. Washed Out – Life Of Leisure (Mexican Summer): This debut is the sound of summer nostalgia. Revealed by the cover’s lilac dream, warm washes of synths and the sighs and lilts of Ernest Greene’s drenched voice.

16. Caribou – Swim (City Slang): Opening with seasick standout ‘Odessa’, Swim is steady and deceptively dark. The accomplished production places an interesting stereo field on the tracks, giving the instruments and rhythms a side-to-side, rocking feel, which works impressively well both at home and in clubs – something few dance albums have fully mastered.

15. Holy Fuck – Latin (Young Turks): The four-piece adeptly construct tracks that are direct yet reveal deeper layers and sounds on repeat, demonstrating that as well as effected soundscapes they can make confident songs.

14. LCD Soundsystem – This Is Happening (DFA): Of all the albums on the list This Is Happening was the most troublesome. When it hits it proves James Murphy is an incredible composer, lyricist and singer (tender crooning replaces the snot) and it proves LCD are an incendiary unit. So their third album should be top 3 but, but… when it doesn’t hit its pastiche-y, uninspired and, worst of all, irritating, because it could be fucking great if only those influences, which were previously sown together with love and affection, were not so glaringly obvious now. The total of their sum parts made LCD exciting yet for This… it is as if Murphy collected those sum parts then went missing but, but… even if for One Touch, Dance Yrself Clean and I Can Change alone it still deserves a place in the top 20.

13. Marc Houle – Drift (M-nus): The Techno Priest delivers an intense lecture in experimental techno as Drift travels from the suffocating winter darkness to the onset of spring. As the ice recedes Houle’s mood has lightened: the tracks develop playfully, analogue synths are tweaked and melodies shine. An eloquent representation of December’s freeze.

12. Black Dog – Music For Real Airports: Composed of field recordings and recalling Autechre and Plastikman, Music For Real Airports recreates an alienating environment where disconnected bleeps, beats and deep bass drums meet brittle hi-hats and ambient atmospherics that oppose Eno’s 1978 utopia.

11. El Guincho – Pop Negro (Young Turks): In direct contrast to Drift, Pop Negro is an aural Um Bongo – refreshing, bright yellow and highly addictive. El Guincho sings in his native, both joyous and yearning, Spanish, while intricate compositions of bouncing melodies, 808 claps and Latin pop are so full of life you bounce back to summer, Um Bongo in hand.

10. Harmonious Thelonious – Talking (Italic): German techno, Minimalism and African percussion are not the most obvious partners but Talking combines these influences with ease. The producer’s debut is a trance-inducing collection of hypnotic rhythmic patterns and danceable voodoo atmospheres. Its pulse is driven by African rhythms and European electronics that create a challenging, playful and deeply idiosyncratic record.

9. Zola Jesus – Stridulum II (Souterrain Transmissions): After sitting on the boundaries of my usual taste I checked out this release after she gained support from Fever Ray, with whom she shares a kinship of producing cathartic and oppressive yet seductive reassurances you want to selfishly take for yourself.

8. Magda – From The Fallen Page (M-nus): After the first listen I was disappointed that this wasn’t as varied or as distinctly ‘Magda’ as her much praised mixes are. With repeated listens her debut reveals her personality is more delicately placed alongside tongue-in-cheek glimpses of Italian horror movie sounds, dark atmospherics and awe-inspiring basslines.

7. Oneohtrix Point Never – Returnal (Editions Mego): For me Returnal brings to mind GAS. Drum-less synthesiser constructs have the air of classical music’s rise and falls and dignified ambience but where GAS is isolation, Lopatin’s creations evoke a dreamy silvery trees and ghostly voices blanketed by a thick fog.

6. Matthew Dear – Black City (Ghostly International): Dear’s third album under his birth name sees him fully immersed in the role of the seamy narrator that Asa Breed hinted at. The thick Talking Heads-indebted productions and bodiless utterances swallow his voice as he recounts strangely alluring tales of desire and sleaze.

5. Konono No.1 – Assume Crash Position (Crammed Discs): Similar to other list entries the songs on Assume Crash Position instantly hit, giving out a warm, uplifting feel while endowing an ample amount of depth, breadth and emotional resonance. The Congolese group prove that artists don’t need the best equipment money can buy to create impressive music.

4. Marcel Dettmann – Dettmann (Ostgut Ton): Lovers of deep, warm techno should listen to this Berghain resident’s debut. Dettmann is an effortlessly lean example of present-day techno structured with an elegance that only German artists are achieving.

3. Ellen Allien – Dust (Bpitch Control): It isn’t the perfectly skewed electronic pop of Berlinette but thankfully it’s not the unrelentingly dull Sool. Allien is back doing what she does best. Belying her attention to detail, Dust is a collection of playful and immediate hymns to love, sex and dancing.

2. Pantha du Prince – Black Noise (Rough Trade): With a cover that isn’t what it first appears, the songs within unfurl and open up to reveal a meticulous mix of haunting chimes and clusters of percussion that build into something dark and forceful, giving Hendrik Weber’s Black Noise a sound that always seems to be on the edge of erupting into something devastating.

1. Thomas Fehlmann – Gute Luft (Kompakt): This took the pole position on the ‘Best Album’s Of The Year….So Far’ June piece and it remains there six months on. Though composed as a soundtrack to real-time documentary ‘24 Hour Berlin’, Gute Luft plays like a loving tribute to Fehlmann’s partner Gudrun Gut. Drums shuffle and rebound, claps and basslines thrust hips, synths bathe, sing, slink, embrace and reminisce, creating a perfect example of sensuous and dreamy elegance.

Mixes of note:

  • DJ Kicks: Apparat (!K7) (which features a new track from Telefon Tel Aviv, the first Joshua Eustis has made since Charlie Cooper passed away in 2009)

  • Ben Klock – Berghain Vol. 2 (Ostgut Ton)

  • Marcel Dettmann – Berghain Vol. 4 (Ostgut Ton)

  • V/A – Fünf (Ostgut Ton)

Honourable mentions:

  • Reboot – Shunyata (Cadenza)

  • Efdemin – Chicago (Dial)

  • Greie Gut Fraktion – Baustelle (Monika Enterprise)

Spotify playlist:

Sonic Fiction’s Albums of the Year 2010

 

 

 

 

 

 

 

 

Review of the Year – Observations

Due to the wealth of Berghain and Ostgut Ton releases I’ve been inspired to listen further to the spiritual forefathers: Basic Channel, GAS and Pole etc., all of whom I missed the first time round, owing to being at primary school. As discussed in my minimal techno piece these artists composed some of the most vital and interesting music of the nineties and are still essential: their material has birthed the recent dub-techno stirrings from Berlin and elsewhere. Marcel Dettmann and Ben Klock, the Action Man poster boys of the resurgence in metallic, intense and climatic Berlin-centred techno, have released one effortless album, an EP and a handful of mixes. Listening to these is an education and an exciting preview of what is to come.

After reading the Kosmische Musik book (see below) I listened to Harmonia with Zuckerzeit and Tracks and Traces standing out. I went back to most of Cluster’s catalogue and found Sowiesoso and their 1977 collaboration with Eno to be the best introduction to the genre, though all are worth checking out.

On another note, 2010 has been absolutely dominated by doorstop. For a genre that was spawned from the underground we have witnessed a depressing inevitability in it going mainstream: advert soundtracks and daytime Radio 1 plays, guest spots and interviews (She-devil Fearne Cotton and dullstent! Skills!). It is everywhere, omnipresent, ubiquitous, all-pervading, as such I cannot hear, read or type that word anymore without wanting to burn it . Worst still is that duckstep is so ball-achingly tedious, a fact no one has critically addressed as everyone is falling over themselves praising the most monotonous and lifeless sound that has plagued this year’s musical landscape. Perhaps in 2011 it will go back from whence it came.

Books

Earlier this year I read Krautrock: Cosmic Rock and its Legacy, which is a comprehensively-written collection of the German Kosmische Musik artists. The author and journalists contribute an overview of Germany and the mindset of the generation born during and after WWII to put the work of the artists in a fascinating context. Also on the list was Anna Funder’s Stasiland, a collection of moving stories of those who lived under Communist rule in East Germany interspersed with Funder’s retrospective view (the book was published in 1997) on the regime, the people who upheld it and those who it destroyed and how Leipzig (where the Stasi headquarters were based) and Berlin have dealt with the effects of the Berlin Wall falling and the full extent of the regime being uncovered. Both are entirely worth reading.

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

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