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Utility Fog


Your weekly fix of postfolkrocktronica, dronenoise, power ambient, post-everything improv... and more?
Sunday nights from 9 to 11pm on FBi Radio, 94.5 FM in Sydney, Australia.
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Playlists are listed with artist name first, then track title and (remixer), then [record label]. Enjoy the links.

Sunday, 18th of June, 2017

Playlist 18.06.17 (9:11 pm)

Really great set of tunes for you tonight, from all around the globe…
Thanks to Heli Newton for sitting in last week and playing a great selection too!

LISTEN AGAIN because variety is the spice of life. Stream on demand as always from FBi, podcast here.

Back in 2014 the infamous 7/8 breakcore artist Venetian Snares released an album through his frequent label Planet µ as part of a duo called Poemss. Unusually for Aaron Funk it was not abrasive or breakneck at all (although it still had some unorthodox time signatures). It actually features a lot of great electronic pop songs, and while Funk does sing in his bass baritone, it’s his Toronto-based collaborator Joanne Pollock who’s responsible for a lot of the great songwriting. So it’s lovely to have a new solo album from Pollock, released by Snares’ TIMESIG label, an imprint of Planet µ. The production has a lot of the hallmarks of Snares’ instruments and programming – Pollock’s learnt well from her partner. But the songwriting is assured, emotional and really suits the electronic setting.

Sometime last year, Gudrun Gut‘s Monika Enterprise label convened a Werkstatt (workshop) for 10 brilliant female electronic musicians in the countryside near Germany. The double LP they’ve released out of those sessions is jam-packed with great music, all of it credited either to the Werkstatt or to individual artists in collaboration with the Werkstatt. Barbara Morgenstern has been pivotal in the Berlin electronic scene for decades, and contributes a beauty of a chanting song, while our second sampler comes from Gudrun Gut collaborator Beate Bartel, a *ahem* slow-burner called “Feuerland” with whispery vocals whipping around a mysterious sound setting, while the group work has an ambient jazz-fusion feel to it. With artists like AGF, Lucrecia Dalt, Islaja and many others, you know it’s going to be fantastic, and indeed it is.

I’ve been following the wonderful Argentinian artist Juana Molina since the early days of this very radio show. Domino re-released a couple of her earlier albums for the first time outside of Argentinia and I remember being struck by this unusual and inventive take on Latin American musical themes. Along with the guitars and vocals, and the familiar swaying, syncopated rhythms, come warbling synths, and the vocals and instruments are looped and layered in unusual ways. She’s totally idiosyncratic and just does what she wants, and I love it.

Jaimie Branch is a name I’ve noticed coming up a lot lately, even though I’m not incredibly up on the jazz world (although always interested). She’s been a mainstay of the Chicago avant-garde scene for a while, and although she’s now based in New York, her new solo album is rooted in Chicago. The fact that she works with artists in scenes like indie/punk, noise and electronic comes through in side ways throughout too, whether the more avant-garde moments, the soundscaping here and there, and so on… but it’s very much a live performed jazz album with brilliant musicianship and really catchy tunes, especially the “themes” scattered throughout…

Jaimie Branch’s fantastic ensemble unusually features a cellist in its lineup, and I’m always excited to discover new cellists. Tomeka Reid also plays in the jazz string ensemble Hear In Now, whose second album has just been released, following Branch’s on International Anthem. Featuring Mazz Swift on violin and Silvia Bolognesi on double bass, it’s an egalitarian ensemble in which all musicians contribute compositions as well as improvising as a group. Their classical backgrounds are present, but so are their virtuoso talents in the jazz idiom. There aren’t a lot of jazz string trios around (Masada String Trio comes to mind) and this is exciting and beautiful stuff.

A couple of years ago Reid also released an album with her Tomeka Reid Quartet on the Thirst Ear label, an ensemble featuring guitar, bass and drums along with her cello. It means there’s a typical jazz rhythm section accompanying some beautiful cello melodies, and also some trading of melodic and harmonic roles between cello and guitar, as well as cello and bass (the bowed double bass melody later in this track is something to hear…)

Sticking with the strings, Montréal violinist Jessica Moss plays violin in Thee Silver Mt. Zion etc (like cellist Becky Foon whose solo album we heard recently), as well as having played with Carla Bozulich‘s Evangelista and various other ensembles. We haven’t heard much of her solo music before, but this album is thrilling – two longform pieces based around looped violin and vocals, with spooky effects, slow-growing drones and layers.

I was pretty excited to hear a couple of months ago that French sound artist Bérangère Maximin has a new album coming out. She’s a master of combining acousmatic, musique concrète sound manipulation, glitchy sound processing and more straightforward musical practices, along with some spoken and half-sung vocal contributions on occasion. Since 2008 she’s released beguiling, creepy, strange music through a number of labels, mostly on her own, although the No one is an island album saw her working with experimental guitarists Frédéric D Oberland, Richard Pinhas and Christian Fennesz along with avant-garde trumpeter Rhys Chatham – giants of experimental music. She easily holds her own, and indeed to me these are the best recent works Fennesz has been involved with. The new album is as good as anything she’s done.

Joanne Pollock – You Know I Would Do Anything [Timesig]
Poemss – Bedtime [Planet µ]
Joanne Pollock – Carnival [Timesig]
Barbara Morgenstern & Werkstatt – Grow [Monika Enterprise]
Beate Bartel & Werkstatt – Feuerland [Monika Enterprise]
Werkstatt – Beginning [Monika Enterprise]
Juana Molina – Cara de espejo [Crammed Discs]
Juana Molina – El Zorzal [Domino]
Juana Molina – Tres cosas [Domino]
Juana Molina – Eras [Crammed Discs]
Juana Molina – A00 B01 [Crammed Discs]
jaimie branch – leaves of glass [International Anthem]
jaimie branch – theme nothing [International Anthem]
Hear In Now – Cicle [International Anthem]
Tomeka Reid Quartet – The Lone Wait [Thirsty Ear]
Jessica Moss – Entire Populations (Pt. II) [Constellation]
Jessica Moss – Entire Populations (Pt. III) [Constellation]
Bérangère Maximin – Elpis [Atlas Realisations]
Bérangère Maximin – Voyages Morphologiques [Tzadik]
Bérangère Maximin – Knitting in the Air (feat. Christian Fennesz) [Sub Rosa]
Bérangère Maximin – Clash [Atlas Realisations]

Listen again — ~193MB


Sunday, 4th of June, 2017

Playlist 04.06.17 (9:12 pm)

Evening! Electronic sounds of many types tonight, focusing (but not exclusively!) on the analogue.

LISTEN AGAIN for the for an alien travelogue of your dreams… stream on demand at FBi Radio, podcast here.

Starting tonight with the unique sound of Stockholm’s Roll the Dice. Since 2010 they’ve been peddling their mix of analogue synths’ krautrocky chug and acoustic piano – I always particularly loved how the rhythmic piano takes over at the end of the almost Kraftwerkian “See You Monday” from their second album. There’s a certain interest in the industrial age (that title being a reference to returning to work) but also, through member Malcolm Pardon‘s other job making music for film, a soundtracky expansiveness and evocativeness. The other half is Peder Mannerfelt, whose excellent label has released music from Klara Lewis and various other female Swedish electronic producers, and whose grasp of how to twist dancefloor expectations is second to none.
Recently, Peder collaborated with Hodge, a central figure in the contemporary bass/techno scene in Bristol, on an excellent EP of uncategorizable club music.
Meanwhile, Hodge turns up with Livity Sound compadre Peverelist remixing dub techno legends Leftfield, whose massive first album Leftism just got a 22-year anniversary remaster & reissue with its 11 tracks remixed to make up 22 tracks.

A slight swerve on the dancefloor next takes us into drum’n’bass territory, albeit with a tribal/techno/bass movement to it. Samurai Music‘s Shiro sublabel was formed to release emerging artists on vinyl for the first time, and here we have Torn, a dark d’n’b producer from Russia, which is the centre of quite a bit of interesting dance music across plenty of genres. Given how big breakcore was there back in the day, it shouldn’t be too surprising, but there’s some really quality stuff coming out of Russia these days.

Polish producer Lutto Lento is no stranger to the weirder edges of the dancefloor, and a lot of his stuff is more on the house tip, but his latest LP from the ever-reliable Where To Now? Records takes in a bewildering mishmash of beat programming styles and lots of utterly bent sampladelica. There’s a junglist tone around the edges too, just for the segue, and a strong influence from dancehall here. Producer Ludomir Grzelak also composes for theatre and dance.

Darrel Fitton has been releasing his melodic, crunchy electronica since 1994, briefly under his own name but for most of his career as Bola. Although he appeared on Warp‘s second Artificial Intelligence comp, he’s been closely associated with Manchester’s legendary Skam label since its inception. In fact he was integrally involved in the second release from the label, the very first EP from Autechre side project Gescom – and while many Gescom releases can be attributed mostly to Autechre, this first EP is one of plenty where their collaborators’ work is clear as day. Bola’s talent for creating warm, classic synth sounds in both the analogue & digital realms is endless, and he’s one of the most melodically & harmonically talented of the original idm producers.
Fitton’s love of the vocoder goes way back too, present on a number of these tracks, and the angelic vocals on the new album’s “Evensong” were apparently produced without any human vocal chords – impressive if true. But Bola has often featured guest vocals from Dennis Bourne (who does appear on this new album) and others, particularly coming to the fore on the more upbeat second album for 2002, which came out on Peacefrog Records under the name Jello. Both 2002 albums are favourites from his catalogue, but honestly there’s gold all the way through… (And note the puns, including “Bola Jello”, but from the start we’ve got “Bola Soup”, the EP “Bola Mauver”, and the groans go on all the way.)

Last week on the show I played an amazing collaboration between Berlin-based double bass player & sound artist Yair Elazar Glotman and Swedish producer Mats Erlandsson. I went looking and found some great ambient-industrial releases from Erlandsson, including his latest for Posh Isolation, a tribute to the first female astronaut Valentina Tereshkova. These are rich and evocative sounds.

Roll the Dice – Coffin & Nails [The New Black]
Roll the Dice – Into The Ground [Digitalis]
Roll the Dice – See You Monday [Leaf]
Roll the Dice – Aridity [Leaf]
Roll the Dice – Locked Hands [The New Black]
Hodge & Peder – All My Love [Wallroom]
Leftfield – Afro Left (Hodge & Peverelist Mix) [Sony Music]
Torn – Insomnia [Shiro/Samurai Music Group]
Lutto Lento – It’s a Horror and it’s a Wonder [Where To Now?]
Lutto Lento – Cheers Tears Ears [Where To Now?]
Bola – Pelomen Vapour 1 [Skam]
Gescom – Sciew Spoc [Skam]
Bola – Vespers [Skam]
Bola – Pae Paoe [Skam]
Jello – Lungbone [Peacefrog Records]
Bola – Halyloola [Skam]
Bola – Evensong [Skam]
Mats Erlandsson – Etterum [Posh Isolation]
Mats Erlandsson – Glances [Posh Isolation]

Listen again — ~198MB


Sunday, 28th of May, 2017

Playlist 28.05.17 (9:10 pm)

Mostly it’s a big string thing tonight, although we finish with guitar and start with electronica…

LISTEN AGAIN because music is sustenance (don’t forget to eat though!) – podcast it here or stream on demand from FBi’s website.

So. The appalling suicide bombing in Manchester this week, aimed at causing carnage at a place of innocent joy, because of the perverted extremist beliefs of a small number of people, have been on my mind this week, and they connected kind of weirdly with some completely unrelated Manchester news – the return after about a decade of beloved idm producer Bola, a Manchester artist on Manchester’s legendary Skam label. I was reminded that 20 years ago Bola, among many other interesting artists, contributed a still-exclusive track to a compilation called 0161, co-released by Skam and V/VM, which commemorated a devastating bombing by a different terrorist organisation, the IRA, that flattened much of the centre of Manchester. In that event, warning was given and although there was huge damage and many injuries, not a single person died.
In any case, for better or worse this long-out-of-print compilation is really excellent, with some great deep cuts like the Bola, and The Fall, led by Manchester’s crabby uncle Mark E Smith, rather surprisingly turned up with some electronic beats wrapped around the postpunk guitars and Smith’s ranting – pre-empting Smith’s work with the likes of Mouse on Mars by many years.

So, we are planning to focus on strings for much of tonight, but very little of it is straight cello or violin. The amazing collaboration between John Matthias & Jay Auborn, both composers & interesting producers, starts us off with Auborn’s piano, Matthias’ violin, and glitchy electronic beats… I don’t know Auborn’s work, which is mostly unreleased sound design & soundtrack work, but Matthias has been on my radar for over a decade, through releases on Matthew Herbert’s Accidental Records, work with Coldcut, contemporary classical composition on Nonclassical, and more – he’s a sensitive songwriter, electronic producer, and a fine violinist as well (in fact his string arrangements can be found way back on Radiohead’s second album The Bends).

Dutch producer Michel Banabila appears a lot on this show, with his world music-influenced electronica both solo and in many different collaborations. Here he’s working with adventurous Dutch cellist Maarten Vos on works for choreographer Conny Janssen. There’s a fair bit of the bouncy electronic beats and exotic samples that are often found in Banabila’s works, but also many acoustic instruments, played by both Banabila & Vos. Cello isn’t always recognizable but it’s certainly prominent in the second track I played.

Yair Elazar Glotman also appears a lot on this show, for his submerged bass-heavy techno as KETEV and his amazing sound design. His works under his own name feature intensely close-mic’d double bass, and the insides & outsides of that instrument feature on his new album along with many other instruments. For his new album on the ever-reliable Miasmah label he’s working with Swedish producer Mats Erlandsson, who’s got some releases on the industrial/experimental label Posh Isolation. I’m not sure whether Erlandsson is a cellist or violinist, but it’s likely both are multi-instrumentalists as well as excellent sound designers. It’s “acoustic doom” (Miasmah‘s frequent genre of choice), with scraped & twanged double bass haunting a space full of wheezing singing bowls, sighing cello, and sometimes enveloping guitar jangles.

Adrian Copeland also makes something like acoustic doom, naming himself after two types of wood that go into many string instruments. His album from last year as Alder & Ash is being re-released now in beautiful physical editions by Lost Tribe Sound along with his new one, and both find him looping and distorting his cello into beautiful mysterious structures – sometimes influenced by doom metal, sometimes by drone or experimental folk. It’s intense.

I was so pleased when I discovered that the wonderful, prolific Montréal-based cellist Rebecca Foon had formed a solo project called Saltland. Foon co-founded chamber/postrock ensemble Esmerine some years ago, and is also a central member of Thee Silver Mt Zion, as well as appearing all over the place in the extremely fertile Canadian music scene. The Saltland material is very much based around her cello and her smooth vocals, but she mixes it in with percussion, electronic programming and other instruments when called for. Her new album and the previous are two rich and lush releases which just happen to have a lot of cello on them. Who could complain?

Returning to Lost Tribe Sound for our last two artists tonight. Michael Cottone has recorded his ambient & electronic music as The Green Kingdom for some years now, but in his talks with Lost Tribe Sound he was asked to make this album out of predominantly acoustic sounds. It’s shiny and summery on the whole, and has that rickety feel of Bibio’s earlier releases, folk instruments filtered through a hip-hop lens.

UK guitarist Andy Cartwright has released a number of albums now as Seabuckthorn, showcasing his fantastic fingerstyle guitar technique as well as his love for extending the guitar through bowing, strumming, and sometimes through subtle production techniques. The sounds are never less than gorgeous, as if James Blackshaw took a different tangent somewhere along the way… Although the circular, Blackshaw-like fingerpicking is always a joy to listen to, the mournful bowing that appears on some tracks is something to experience.

The Fall – Powderkex [Skam]
Bola – 01706 [Skam]
John Matthias & Jay Auborn – Pretoria [Village Green]
Coldcut – Man in a Garage feat. John Matthias [Ninja Tune]
John Matthias & Nick Ryan – 2nd Movement from Cortical Songs [Nonclassical]
John Matthias – Pre-loved/Vintage [Village Green]
John Matthias & Jay Auborn – Songbird [Village Green]
Maarten Vos & Michel Banabila – Fuzzy Clarity [Tapu Records]
Maarten Vos & Michel Banabila – Rosy Fingered Dawn [Tapu Records]
Yair Elazar Glotman & Mats Erlandsson – Turn Roots In Iodine [Miasmah]
Yair Elazar Glotman & Mats Erlandsson – Ceramic Relic [Miasmah]
Alder & Ash – A Seat Amongst God And His Children [Lost Tribe Sound]
Alder & Ash – Seen Through the Cedar Smoke [Lost Tribe Sound]
Alder & Ash – The Merciless Dusk [Lost Tribe Sound]
Saltland – This Other Place [Constellation]
Saltland – Hearts Mend [Constellation]
Saltland – Light Of Mercy [Constellation]
The Green Kingdom – Aventurine [Lost Tribe Sound]
Seabuckthorn – Lanterns [Lost Tribe Sound]
Seabuckthorn – Returnee [Lost Tribe Sound]
Seabuckthorn – Plateau Edge [Lost Tribe Sound]

Listen again — ~189MB


Sunday, 21st of May, 2017

Playlist 21.05.17 (9:08 pm)

Quite a pop show tonight, or, well OK fair enough, not “pop” as such but songwritery anyway.

LISTEN AGAIN because you won’t hear these sounds in this order anywhere else! Stream on the demand is the FBi way, and podcast is here.

Sydney’s Joshua Gibbs aka Setec creates lush, layered indiepop straight outta his bedroom with charming folktronic edits, sampled beats and sounds, and lots of live instrumentation. Can’t wait for his new album (which, full disclosure, I contributed cello on a couple of tracks – so I’ve heard some more loveliness already!)

Ryan Lott’s Son Lux has been combining the very electronic with the very organic for ages too – his very first album incorporated orchestral arrangements into his indiepop, released on avant hip-hop label Anticon. We’ve heard a fair bit of Lott’s compositional talent recently, so it’s nice to have some new songwriterly stuff. Great pop songs, heavy electronic production and classical arrangements. Bit of everything hey.

Melbourne music stalwart James McGauren is about to release the latest album from his band The Black Hundred, melding postrock lushness with industrial heaviness. McGauz recently relocated to Sweden, his wife’s homeland, and he’s engaged Swiss electronic producer Walter Fini for a remix of his moody surveillance state meditation “Orwell”.

The next music is also incredibly moody, and coincidentally also Swedish. Little is known about Irma Orm aka Demen (the link there just goes to the album’s Bandcamp page), but she sent her music in to Kranky, describing it as “doom pop”, and of course they jumped at the chance to release this. It’s definitely got a bit of an influence from the early, most gothy Cocteau Twins. Orm doesn’t have the vocal range of Liz Fraser, but expressively she’s on point, and her echoey, doomy compositions are redolent of yearning and, yes, doom. It’s a beautiful, impressive debut.

From Sweden to Norway, with super talented double bassist Christian Meaas Svendsen, whose third solo album sees him expand his avant jazz & contemporary classical composition into avant pop songwriting. He’s also leader of minimal avant jazz/classical ensemble Nakama, and the members appear here backing his experimental songs, along with subtle electronic elements. It’s open and airy, very weird but also entirely approachable. The recent collaboration of Jenny Hval with Kim Myhr and the Trondheim Jazz Orchestra as well as other artists on the Hubro label suggests a kind of contemporary Norwegian tradition of Americana-influenced folk, precise jazz arrangements with room for improvisation, hung loosely on songwriting structures. It’s fantastic anyway.

And now, a few new (and one not as new) pieces from Marseille-based Italian singer/composer/electronic producer Alessandro Bosetti. First up, his Trophies project features fretless guitar from Kenta Nagai and drums from none other than Tony Buck. There are a couple of exquisite albums of Bosetti also with another Necks member, Chris Abrahams. Interestingly the first Trophies track I played tonight sees Nagai shadowing Bosetti’s vocals on guitar, and Abrahams does the same on the duo track I followed it with. The Trophies album is a pretty incredbile piece of avant whatever, with angular guitar, incendiary drumming, vocal drones and cut-ups along with all sorts of other electronics from Bosetti – in fact I think what sounds like sequenced synths is in fact all vocal samples. Please check out the micro-site with an extended story by Bosetti and some adorable/hilarious photos of random groups of three people posing from the “Band Photo”…
Bosetti’s got another album out just now too, on Italian experimental label Holidays Records. It’s entirely vocal focused, with passages of choral vocals, sequences in which the vocals are atomised into tiny pieces, re-pitched and sequenced – and passages of extended vocal techniques a la Meredith Monk. It’s crazy and fun.

English composer & electronic musician Christopher Chaplin released his solo album Je Suis le Ténébreux last year after working closely with krautrock & ambient legend Hans-Joachin Roedelius for some years. A remix EP from that album is coming out later this week from Fabrique, with four excellent reworkings. We heard the almost classical-sounding piece from Berlin-based producer Jana Irmert, and a delicate, rhythmic version from another Roedelius collaborator, American film-maker and composer Tim Story.

New Sydney artist Big Geoffrey has a track on the ever-reliable Tandem Tapes – a dense wall of noise, growing from a single drone into a churning lava lake of shuddering sound. Great.

Last up, New Yorker Ezekiel Honig returns after a few years with a new album of subtle field recordings, home-made percussion loops and quiet, minimal instrumentation. It’s an intriguing album, not quite conceptual field recording, not quite ambient, not exactly idm. This one track doesn’t give you the range – check it out on Bandcamp and have a listen to his other works, which have a similar hard-to-pin-down character, and lots of depth.

Setec – Cotton Bones [Feral Media]
Son Lux – Dangerous [Son Lux Bandcamp]
Son Lux – Part of This [Son Lux Bandcamp]
The Black Hundred – The Lion Sleeps No More [The Black Hundred Bandcamp]
The Black Hundred – Orwell (Walter Fini 2017 Remix) [The Black Hundred Bandcamp]
Demen – Niorum [Kranky]
Demen – Illdrop [Kranky]
Christian Meaas Svendsen – Kretsløp [Nakama Records]
Christian Meaas Svendsen – Avin [Nakama Records]
Trophies – Desidare [Unsounds]
Alessandro Bosetti & Chris Abrahams – La Nourriture [Unsounds]
Alessandro BosettiPlane / Talea Side B (excerpt, approximately first half) [Holidays Records]
Trophies – Small process [Unsounds]
Christopher Chaplin – Aelia Laeila (Jana Irmert Remix) [Fabrique]
Christopher Chaplin – Je Suis le Ténébreux (Tim Story Remix) [Fabrique]
Big Geoffrey – Lights On [Tandem Tapes]
Ezekiel Honig – Gravity [Anticipate Recordings]

Listen again — ~194MB


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Sunday, 14th of May, 2017

Playlist 14.05.17 (8:57 pm)

Bit of… rock! A bit of minimal glitch and worldtronica and other stuff you’ve come to expect from the ‘Fog!

LISTEN AGAIN to the post-world electronics, post-r’n’b industrial grime, experimental rock, minimal weirdcore and the rest… You can stream on demand because FBi’s cool like that, or find the podcast here.

Maybe it’s weird to be playing classic rock on this show… but Midnight Oil really were such a groundbreaking group, and so truly experimental in their early ’80s period, that the massive new boxsets arriving on my doorstep this Friday were all the excuse I needed to visit a few brilliant blasts from the past. Not only did they bring environmentalism, reconciliation & Indigenous rights and so much more into Oz rock, they were so great at using the studio as an instrument… Crazily layered mixes, tracks switching from ring-mod guitar to acoustic bass and piano, oppressive atmospheres and sampled vocals. So good.

Aussie indie outsider Benjow has been releasing home recorded oddities and incredible archival tapes on Bandcamp as haddocks’ eyes for a few years now. A little while ago he released a bunch of stunning, restrained songs featuring helium-pitched vocals, and he has this week re-released them with his original untreated vocals. They’re just as gorgeous.

For almost ten years, Félicia Atkinson has been honing her craft now, starting with some lovely folktronic offerings and collaborations with some other very fine ambient and experimental artists. Her new solo album comes out from her own Shelter Press, and sets her whispered and muttered poetry against spooky minimal electronics and sound design. Highly accomplished stuff.

Another French artist, Sarah Foulquiere aka Fawkes has worked with innovative footwork producer Jlin recently, but steps out on her own with an amazing debut on Halcyon Veil with strident vocals, effects galore, and industrial grime/techno/bass beats. It’s an intense trip.

Tony Boggs used to go by the name Joshua Treble, and unreleased some excellent idm and techno under the alias as well as being part of the brilliant d├ęsormais with Mitchell Akiyama, who ran the beloved indietronic label intr_version for many years out of Montreal. Boggs is now running experimental label Kikimora Tapes in Toronto, and it’s so great to have these grainy, glitchy sounds back.

It is extremely good to have Digital Hardcore veteran, breakcore/dark ambient producer Christoph de Babalon back in action, releasing piles of archival material and simultaneously also equally fine, equally explosive and dark new productions. His new EP Grim Zenith finds him back on V I S, the label run by Nina Trifft of Hamburg nightclub the Golden Pudel.

Grey Filastine has been making his “postworld” political dancefloor music for over a decade now it seems – the brilliant burn it and Dirty Bomb came out in 2006 and 2009 respectively, brought to Australia by the like-minded Über Lingua collective, so Filastine has a long-running connection to this country. Those two albums were very much focused on the politics and music of the Middle East, and featured collaborations with the vocalist Jessika Kenney. Since then Filastine has worked closely with the brilliant Indonesian singer & musician Nova, and it’s great to hear the new album credited to both equally. Her songwriting is beautiful and brings out the best in Filastine’s inventive bass-influenced production. Also notable is the strong presence of avant-garde cellist Brent Arnold.

Andrejs Eigus brings us our last sounds tonight, acoustic instruments (including the beautiful warm double bass!) mixed with electronics. He calls himself Selffish and the album comes courtesy of the well-curated Welsh label Serein. Lovely clicky electronica, minimal jazz-inflected chords, enveloping late-night goodness.

Midnight Oil – Scream In Blue [Sony Music]
Midnight Oil – Power And The Passion (Extended Remix) (excerpt) [Sony Music]
Midnight Oil – Harrisburg [Sony Music]
Midnight Oil – Bells And Horns In The Back Of Beyond (excerpt) [Sony Music]
Midnight Oil – Doghead [Sony Music]
haddocks’ eyes – boat [haddocks’ eyes Bandcamp]
Félicia Atkinson – Hier le désert [Shelter Press]
Félicia Atkinson – Monstera Deliciosa [Shelter Press]
Fawkes – La Ghoula [Halcyon Veil]
Fawkes – Blatant Snake [Halcyon Veil]
Unfollow – I&I Fluid Co. [Kikimora Tapes]
Unfollow – Kate Kush [Kikimora Tapes]
Unfollow – LinkedIn [Kikimora Tapes]
Christoph de Babalon – Pure Dirge [V I S]
Christoph de Babalon – Luxury of Sadness [V I S]
Filastine & Nova – Miner [Postworld Industries]
Filastine – autology (feat. Jessika Skeletalia Kenney) [Soot Records]
Filastine – fitnah (feat. Jessika Skeletalia Kenney) [Soot Records/Über Lingua]
Filastine – gendjer (feat. Nova) [Postworld Industries]
Filastine & Nova – Perbatasan [Postworld Industries]
Selffish – I Came To Leave [Serein]
Selffish – As The Leaves Fall [Serein]

Listen again — ~199MB


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