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The Canadian acoustic and electroacoustic artist has been rising through the ranks of ambient-leaning artistry since long before her first album, Barons Court, landed in Or, perhaps more accu-rately, decluttered.

As Antiphonals goes to show. Everything on the record gives sounds the expanse they need to truly do their thing. Among the comparatively standard instruments Davachi has mastered to create these tracks are the Mellotron, an electro-mechanical keyboard-type thing invented ina tape echo, and bass flute.

The full list of kit is truly expansive, and nothing short of mind-boggling. Not necessarily a record to passively listen to, despite its perfection as an accompaniment to long train jour-neys staring out the window, quiet dinners and meditation sessions, to whittle all this down: Davachi creates a stimulating sensory environment that immerses you in its tones from the very star. But her soft spoken, cloud-bound voice has yet become a familiar trope for keen listeners of the independent radio circuit.

Her few frames of reference include her inspirations Dean Blunt and Jadasea, both artists whose reputations, and taste for tricksterized imagery, precede them. But that context is more than we should need from Glacier. The fourth studio album from Little Simz is remarkable.

The arrangements are matched by songwriting and lyricism, to say the least. But what does it really sound like, you ask? Mansur Brown — Heiwa Amai. It makes sense that Brown should put more of a conscious effort into spacing out his compositions like this, given that this is his debut LP for his new label venture, Amai Records.

Chicago house pioneer Paul Johnson tragically passed away last month having contracted Covid The prolific producer had been afflicted with more than his fair share of health-related problems throughout his life, but the adversity he faced only served to intensify his quest to make the world bounce to his hyper-infectious beat.

Despite these horrendous injuries, he maintained a laser-sharp focus on crafting floor-shaking music. Presenting a delicately refined reshape of the original mix, undulating sleaze combines with jacking rhythms and earth-shaking bass as his version effortlessly meanders with heads-down intent.

The psychedelic moniker of Angus Gruzman, Dreems has been busy carefully constructing cutting edge sounds for the likes of Multi Kulti, Futureboogie, and Kompakt since emerging in around First up is a remix from Die Orangen — a suitably fearless and sonically adventurous project from Kris Baha, Angelo Cruzman and Dreems himself.

The wigged-out music toils and broods as it unfolds, ambling its way into a lengthy, smoke-filled breakdown before lurching back into its shadowy stride, accompanied by unnerving effects and dramatic percussive hits.

As the nights grow longer and the days colder, this cultured material is equally suitable for at-home introspection or surreal backroom journeying. Anastasia Kristensen — Volshebno Houndstooth. On the face of it a few people might be a little surprised by the big hitter here. Finding a home for herself on a la-bel that has been all about defying expectations and delivering the unexpected since inception, Volshebno EP shows what an ideal meeting of minds this really is. This new EP is Madteo at his best, blending his jam-packed, teenaged hip-hop, Latin and dub disco influences — alluding all the way back to his DJ residencies in New York in — with his newer, scuffed brand of analogue techno.

But it also sounds strangled at the same time, with each series of beats muffling a stifled vocal line that is desperately trying to repeat itself. A vocoded, filtrated chord — which gives this track a sunnier, clearer mood than the others — marches on through a nonetheless wet, discordant techno soundscape, which pays just as much tribute to Maurice Fulton as it does to Pan Sonic.

Portuguese-Venezualan musician Alex Figueira continues to enjoy his relatively fresh solo career with the fourth release on his very own Music With Soul! His expansive music is fantastically slippery when it comes to pinning it down to specific genres, taking in elements of stoner rock, psychedelia, global grooves, dub and more. The title track is deliciously off-kilter, with devilish percussion and live drumming propelling the filthiest of basslines through spaced-out effects and distant vocal screams.

The only disappointing thing is the track duration, clocking in at all too short two-and-a-half minutes. On first listen it may seem a little saccharine compared to the A-side, but upon closer listening, the wonky essence of its creators steadily reveals itself. Subtle dissonance combines with the yearning of the lyrics for a very slightly sinister bedtime lullaby. Romanian duo Valeriu Borcos and Eduard Gabia once again unite under their Karpov Not Kasparov moniker for their third vinyl release to date, this time landing on the always interesting Disco Halal.

The pair have already made a mark in the off-piste disco world, and have been remixed by revered producers Khidja, Pletnev, and Mehmet Aslan among others. Haunting vocals and exotic bass notes combine with mid-tempo Latin-ish rhythms and gipsy-inspired synth melodies to form a uniquely interesting hybrid jam. Jaunty leads, hyperactive drums and quick-fire bass are joined by a sprinkling of punk, for an enjoyable if slightly bewildering close to an altogether entertaining collection.

Extrawelt — Gazelle Flip Dreaming Awake. Hamburg-based DJs, celebrated live act, and production power pairing Arne Schaffhausen and Wayan Raabe are back in Extrawelt action Check Out The Bassline (Tweety Remix) - House Lizards - Check Out The Bassline (Vinyl) their new effort on Dreaming Awake.

The track comes in four versions, opening with the rather lovely original. The determined synth bass hook growls and modulates under a loose-feeling groove, subtle effect and spaced-out hits add a sense of tension before eminently pleasing chords glide in to complete the floor-focused picture.

The Degrees version utilises the fundamentals of the original, expanding the chord progression while adding beef to the broken drum pattern.

Finally, the Wa Wu We Prayer version is the most introspective of the pack, virtually beat-less as it boils and broods before disappearing into the infinite silence. Low Standard Deviation — Bunker Bunker. Move over, Delroy Edwards. The most extreme metalheads enjoy the many stylings of punk and synthpop; with LSD, that trajectory plays out in reverse! With the occasional samba line peeking in too, this is a distinctly Brazilian-European industrial project, as reminiscent of Joy Division as it is of Esplendor Geometrico.

Winning admirers across the board, not least from heavy-hitters Flying Lotus, Bonobo, and Flume, the break-up themed album scored plenty of press points too — with Rolling Stone and Pitchfork among those joyfully singing its praises.

The good times were well and truly rolling, but as all but the luckiest of souls will be acutely aware, even while surfing the crest of a wave, life has a habit of blind-siding each of us with unexpected obstacles.

Family misfortune would force a change of pace for the high-flying artist, and — following his father suffering a recent stroke — Jakobsson began spending a good deal more time at home in Malmo to help provide care and support to his recovering patriarch. Far from signalling a premature end to his soaring career in music, Armand embraced the opportunity to re-connect with loved ones while channelling his freshly nurtured vigour into honing his production techniques.

MR like to double, triple, quadruple their jangle-pop lyrics, ad infinitum, giving the whole thing an ominous mood. But these moments are rare. As the band put it, this album is about insincerity, and they nail the mood perfectly. Turnstile — Glow On Roadrunner. The meteoric rise of Turnstile has felt a little bit like witnessing history in the making.

The Baltimore hardcore punk outfit started making waves roughly a decade ago with a slew of EPs that simultaneously managed to pay homage to genre foundations such as Bad Brains and Gorilla Biscuits, while slowly yet surely unravelling layer after layer of sonic nuance. Enlisting the prolific Mike Elizondo as producer, whose credentials stretch from 50 Cent to Rilo Kiley, the mission to turn hardcore punk into a global entity has never seemed more fully realised than across these 15 tracks, clocking in at a whopping 35 minutes.

By offsetting the aggressive, transcendent, camaraderie that their massive, riff-heavy, ludicrously catchy anthems demand, a new shape of punk to come seems to have all but arrived.

Scattering themselves amongst a clutch of respected underground labels to keep their options open, FYI Chris approach their debut album with a degree of freedom. More than anything, the album format has presented FYI Chris with the opportunity to cast themselves as more than just a duo of northerners making tunes in Peckham. Much like the recent Joy Orbison mixtape, this familial approach adds a certain sincerity to the music, providing a window into the real world the artists reside in.

The singers and rappers are just a small slice of what Earth Scum is about though. As an artist with a focused approach to aesthetic, Hugo has pointedly shaped up a world for Palmbomen II to reside in — one rendered in over-saturated VHS film stock, low budget public access surrealism and an imagined Californian dream state.

That was especially the case on his Memories Of Cindy series for Beats In Space, but equally the analogue warble on his collaborations with Betonkust have a similarly stylised quality.

Now Hugo makes his first Palmbomen II outing on his own label, World Of Paint, and he steps out of his own fantasy zone to encourage listeners to create their own. The concept for Make A Film is a smart one. The manual suggests the music can be used as inspiration as well as soundtracking the resulting film projects, albeit not for commercial use. Lo-fi 80s sound and vision still holds weight when handled in the right way, and a project like this throws up unknowable possibilities for how that strong sonic characteristic might be used.

Arpanet — Inertial Frame reissue Record Makers. In some ways Gerald Donald will always be one half of Drexciya before anything else.

But what Drexciya achieved in expanding the parameters and possibilities of electro set the stage for what Donald would go on to achieve afterwards. On the first album, Wireless InternetDonald sharply addressed the techno futurism which is now our every day reality, and he did so with a trademark noirish electro minimalism that maintained the funky roots of his work.

Three years later, the second Arpanet album Quantum Transposition jettisoned most recognisable frameworks and explored a steely, avant-garde abstraction of the Drexciyan mode.

Then we come to Inertial Framethe third and ostensibly final Arpanet album, now reissued by the French label which originally released it, Record Makers. If Quantum Transposition wilfully cast into the unknown, here Donald returned with his findings. The sound was more tangibly rendered, but permanently altered, in the same way Dopplereffekt was forever changed after the striking experimentation of Calabi Yau Space.

Crucially though, Inertial Frame remained musical even in its wilder moments, contrasting the metallic severity of its predecessor. O Yuki Conjugate — Equator Aguirre. The Belgian label carries music which seems born from the same stew of outernational mysticism — shadowy drum incantations and drone escapism shot through with a smudged beauty. Equator originally came out in as a CD-only release on Staalplaat, marking the first recorded output for a new iteration of OYC after their initial three-album run.

Where Peyote left off in a rather opaque adoption of international sonic tropes, Equator has a smoother, more ambiguous slant to its approach. For those who loved the recently reissued early albums, Equator will certainly still draw you in close. The setting is more ambiguous than even their boldest Fourth World dreams imagined on earlier albums, but you feel most welcome to recline there and marvel at the scenery. Vladimir Karpov returns with another hypnagogic exploration through his private soundworld.

Appreciation for experimental music from the Russian underground has certainly increased in recent years, and links might be drawn with artists orbiting the Dig label and shop, or the illustrious imaginings on the Udacha label, but really Karpov is running under his own shroud of inspiration.

His largely long-form approach achieves the Fourth World aim of creating a new nonplace full of mystery and wonderment, where undulating rhythms carry amorphous tones accompanied by flora and fauna, synthesised, sampled or otherwise. Appearing in two minute pieces, Anciente is everything you could wish for from an ambient release. Karpov edges elements in and out of the mix slowly but surely, shifting the emphasis without ever jarring the flow.

It may roll out in hushed tones, but Anciente is rendered as a vivid landscape to explore, pockmarked with individual settings you come across on your travels, but all wrought from the same fundamental elements. In short, if you love carefully curated electronics balanced out by a healthy dollop noise and chaos, executed with a knack for drama and surprise, then this is the album for you. Directions — Echoes Temporary Residence. Echoes is one of those records with an impact that far outweighs the modest nature of its initial entry into the world.

Limited to copies on release in via niche UK alternative label Soul Static Soundit ostensibly served as a footnote to the limited Directions project spearheaded by Bundy K. As a veteran from Chicago noise rock and post punk collectives such as Bastro and Gastr Del Sol, Brown went on to help form seminal Windy City group Tortoise before pursuing other nebulous ventures within freeform music.

Directions released one full-length release on Thrill Jockey in and then quietly called time with Echoesa two-sided single which took a smooth, undulating approach to jazz-informed improvisation with a contemporary verve that sat comfortably alongside the downtempo sounds of the era.

One of the hooks to draw attention to this reissue of a modest cult classic is its high profile co-sign from Kieran Hebden, aka Four Tet. The sultry sax, meditative percussive groove and mellifluous double bass meanderings sound like a shoe-in for the debut Four Tet album Dialogue. But where Hebden explored electronic processes in this context, Echoes has a loose, dubby, organic quality.

This is how reissues should be done, bringing a special, seminal piece of music back within reach and deepening the experience for those who have held it close for more than 20 years. Chvrches — Screen Violence: Virgin. Returning freshly from their dream collab a give-and-take remix single release with horror soundtracker John Carpenter Chvrches have finally dropped their fourth album, Screen Violence.

This album delves deepest into a style that, ideally, Chvrches would have explored earlier in their career. But Chvrches revel in this nostalgic post-cynicism; why watch Stranger Things for our horror fix? Our own waking lives — if not for the filtrating power of screens — are bingeworthy enough. Through tasteful Memphis-inspired drawls and slapping productions, was the year that they successfully nailed down an intriguing thought — are the police no Check Out The Bassline (Tweety Remix) - House Lizards - Check Out The Bassline (Vinyl) than your regular old gang?

Italian label Random Numbers are doing a sterling job of cultivating a culture around contemporary cold wave. In truth, terms like cold wave, synth wave, minimal wave and so forth are a little vague, variously referring to lo-fi bedroom producers making gothic music on budget set ups or high-impact analogue death disco deviants.

The overarching theme is one of noirish fantasy spelt out with a vintage accent, in thrall to the rigidity of the sequencer and aiming for a dark basement lit in red. Patrizio Cavaliere.

Container — Creamer EP Drone. From that raucous and unarguably loud introduction the record only takes those ideas further. Cygnus — Perfect Central Processing Unit. CPU has been a faithful port of call for the Cygnus project, reaching back to and touching on one album and four prior EPs before this one. The vocoder celebrates the man-machine interface in the same way as Aux 88, Cybotron, Man Parrish, Egyptian Lover and the many pioneers that paved the way for the contemporary electro scene.

The man behind the music keeps something of a low profile, preferring to let his carefully assembled reworks speak for themselves. Teri has made his mark by digging deep into the vintage Indian and Bollywood archives, tapping into a rich vein of bubbling source material, apparently taking great pleasure in re-introducing the music to appreciative new audiences at home and abroad.

On top of this dutiful digging, his edits go far beyond the realms of simple cut and paste, elegantly blurring the line between the re-edit and the full-blown remix by adding discernible layers of complimentary production.

The latest instalment features a guest appearance from Kone Kone, who first appeared on wax via Get Physical back in Finally, the script is flipped on its head as we arrive in sunshine reggae territory. Unfalsifiable digital currencies are all the rage today, and their power and influence over our lives will only grow as time marches on and the Kurzweilian technological singularity nears.

Such future excitements and anxieties are exactly what the mysterious artist Exael aims to pinpoint in her music, whether it be pressurized illbient as Ghostride The Drift with Ambien Baby, or her abstract techno experiments with Arad Acid. And as is the case with artists who rise to power so quickly, Exael wants Check Out The Bassline (Tweety Remix) - House Lizards - Check Out The Bassline (Vinyl) all.

But have you ever heard her make breakbeat hardcore and donk? Likely not. The influence of amoral cyberculture is strong with this EP. This is Underground Resistance meets Gossip Girl; embrace the cryptographic revolution, or watch your reputation get tarnished. The term deep house means different things to different people, but there can be few artists who embody the fundamental essence of the spiritually motivated core of the sound more completely than Fred Peterkin.

The man behind Black Jazz Consortium has appeared on the likes of Mule Musiq, Ibadan, and Finale Sessions among many other fine imprints, and his refined work has won him countless admirers among the most discerning of selectors. The full version of the track then bursts into action, with subtle drums adding weight to the emotive instrumentation, with gliding synths and life-affirming organs providing texture to the minute epic.

The heavy rhythms propel the cut here, but the exquisite musical flourishes and cultured arrangement render the dub eminently memorable. Jose Rico — Star Dreams Downbeat. Downbeat Records frontman Jose Rico makes his seventh appearance on the label with five gorgeously deep and genre-spanning grooves. Pressured to sound similar to pop bands of the time such as The Beatles, they however had a very soulful tone about them with their deeper baritone voices, singing about love.

A decade later however, they did find a whole new audience surprisingly in the UK. Following them on the B side is the sweet girl group, The Cooperettes who were sisters also from the area who signed and released their single in It seems maybe with their playful lyrics and equally groovy tempo they were just too nice for the US audience, but by any means at least audiences in the UK showed them the love they deserved.

The record was first reissued in before getting more attention and having further represses ordered due to their popularity in the UK. Thompson had already been making indelible waves with a series of hard-hitting releases recorded alongside Kyle Martin as Spectral Empire for a good few years before he branched out with his Black Merlin solo project.

With a constantly shifting sound that tends to dwell somewhere within the experimental techno vortex, his music is characterised by an often sinister late-night edge and a propensity to embrace the otherworldly.

The breathtaking music evolves over subtly modulating synth arpeggios, with dramatic sweeps and trance-inducing textures endowing the track with a distinctly cinematic quality. On the reverse, Gordon Pohl makes the most of the atmospheric waves with his stripped and almost unending remix. While teasing at a resolution, the captivating music instead peters out into the eternal silence, affording the piece a potent sense of ceaselessness that adds to its mystical quality.

The apocalyptic sound system carnage of The Bug heads up our selection of key LPs this week. The Bug — Fire Ninja Tune. Of the four basic elements besides Earth, with whom he has already workedfire is the one most pertinent to Kevin Martin, aka.

The Bug. A spreadable and dangerous rapidly oxidizing chemical reaction, which manifests as a plasma, fire has been associated with hard-hitting bangers throughout dance music history, touching on the flammable, primal forces within us. Fire is an agent of destruction, but it still has constructive capabilities. There was nowhere else to go, no-one to complain to.

The Bug as ever demonstrates his willingness to work with fresh, exciting faces. Equally, the grime undercurrent is both titanic and underground, like a flesh-tearing sonar pulse. From Japanese Yurei to White Ladies, spectral folklore throughout the world is obsessed with sadness and melancholy. UK ambient trio Haiku Salut — hailing from the gothic, old English county of Derbyshire — are very in tune with this cry from beyond the grave.

Said process — of recording, composing and performing in dim and flickering lights — is, for trio member Sophie Barkerwood, paramount to evoking the spectral. Each piece is intimately connected to a place in time. This album is completely removed from the creepy or spooky associations with spectrality.

Even kidney disorders can be worth lamenting! Justice — Viewpoints Hydrogen Dukebox. Space Afrika — Honest Labour Dais. Some artists like to jettison all reference points and plunge into the unknown, while others manage to imbue a very particular sense of time and place into their music.

That could be interpreted as a musical signifier, but in the context of their new album, Honest Labourit feels more like a reference to the country as a whole. In the same way Burial created an abstract sound which became unshakably attached to romantic visions of dreary night bus rides through London, Space Afrika have conjured up a sonic which runs its fingers across the texture of every key-scratched tag on every bus shelter, catches the run-off from an overflowing, mossy gutter and breathes in low-lying fog at cloud-covered daybreak.

At certain points in Honest LabourJosh Reidy and Joshua Inyang make pointed use of what sounds like African-American people reflecting on love, mental wellbeing and other personal issues — sincere elements woven into the album which might well alter your perception of the place in which it resides.

The expansive cast of collaborators help render a complicated, unwieldy Britain, each fleeting moment an intimate vignette within an epic tapestry. Such outright musicality faces off with scratchy sampling and field recording, while gauzy sweeps of synthesis mark one of the few clear trails leading back to the earlier dub techno inflections Space Afrika started out with. There are expanded editions — and then there are expanded issues like this, with a whopping 53 tracks across various versions.

Theirs is an altogether more individualistic approach, often carried along by youthful exuberance but also by a knack for songwriting which manages to be as infectious as a certain Covid variant but throws in enough curveballs and mould-breaking moments that it never seems brazen or obvious. This is top stuff, no doubt about it. Composed of mostly B sides and tracks from mixtapes, fans can finally rejoice at having all these songs collected and curated perfectly to follow one another in one place.

Whenever that may be. Downtempo beats sound their best when given a nihilistic tilt towards the darkside. Think of the lairiest end of the illbient spectrum, the deathly rattle of distorted funk breaks colliding with the metallic snarl of industrial, the sound of a thousand coffee tables burning under the weight of their own detached cool. As a Bristol resident, Kristian Jabs is surely conscious of the loaded legacy of trip hop, which at its best still resonates with urgent cross-cultural energy, and at its worst represents the peak of anodyne, major label co-opting of the underground.

Now, alongside other style-specific projects like Boreal Massif and Soft Boi, Jabs unveils the Stigma alias as a devout exercise in low slung, death rattling trip hop. Cole Pulice — Gloam Pingipung.

Hailing from Minneapolis and with some impressive credits to his name, Cole Pulice is pushing the saxophone in interesting directions. Playing with the likes of Bon Iver and Godspeed You! Black Emperor got him started, while more niche projects such as Iceblink and LCM have seen him expanding into more experimental realms. Gloam is not just a technique record though — in the rich tones Pulice elicits, he creates a listening experience which courses through you in waves too fierce to be deemed ambient.

Doildoshi — Invisible Threat More Rice. The steamy metropolis of Bangkok might not be the very first place that springs to mind when considering habitats conducive to high grade subterranean misadventure, but amidst the congested traffic, bribe-hungry bent coppers, and belching toxic smog, the Thai capital is home to a surprisingly vibrant crop of jocks, creators, and audio enthusiasts.

Comprising of a label and sexy new record store, and fronted by a freaky triad of committed sonic purveyors, More Rice are playing their part to add a distinctive sense of nuance to the homogeneous Bangkok underground. Intoxicating synth melodies skip over the caress of soothing chords, excitable acid bass, and stripped machine drums.

Upping the energy levels while retaining the impetus of the original, his version strips things back just a touch, embodying the track with a brooding quality exemplified by menacing bass stabs and tripped-out vocal textures.

Taqbir are a wonderful example of viral notoriety. After their first song emerged from the smogs of YouTube and Bandcamp, this Moroccan punk outfit have turned many a head, and are now tearing their home Taqwacore scene apart with maximalised electro-punk roarers. While largely centring on the UK, its takeoff in Morocco has seen Taqbir nab the helm of the scene. While some Taqwacore bands simply concern themselves with Islam rejecting traditionalist interpretations of the religion from either within it or outside of it Taqbir are entirely anti-religion.

It is purely, rawly furious. Like their own name, Taqbir are a subversive rallying cry. Throughout his career to date, K-Lone has thrown us plenty of curveballs to keep his options, and our ears, open. The binding agent in the K-Lone discography is a preference for sleek, refined sound design and a firm grasp of melody, all underpinned by an inherent UK swagger. You get the impression K-Lone has perfected his studio workflow to channel inspiration into fully realised ideas in a streamlined, intuitive fashion.

Following up on the love he received for that minute run of on-point dubs, K-Lone launches the new Tasty label with four standout tracks lifted from the mix. Originally released back inthis record is getting some new treatment which is owed to its absolute die hard fans. However it perfectly explains the heavy Brit pop influence on their sound and image.

Indie Brit Pop was reigning, even if on the other side most of their influences came from the states with The Stroke dominating the pack over the pond. Starting out with a sound very reminiscent of the Garage band days and sounds, Colombian Coffee keeps their audience transfixed with sweet melodies and hooks in Brazilian.

Even their artwork depicts the famous indie art pop look associated with the time, which still has a buzz even today as part of cultural history.

Apparently, lengthy manifestos on sensory deprivation and chemically heightened consciousnesses can inspire hard-hitting electro tapes, and we say bring it on! Spanish label Mate are back in action, staying true to their implied statement of intent by serving up a selection of zero nonsense house jams, this time arriving from newcomer or possible new alias34 th Floor Experience.

The latest instalment features studio mavericks St David and Nico Lahs on remix duty, and each of them brings something irresistible to release. For those of us — and there do seem to be a lot of us around again — who love old hardcore and early jungle, the re-opening of the vaults of Suburban Base for re-issue and in many cases unheard rarity action is a bit like all our Christmasses coming at once. We kick off with a previously dubplate-only Dead Dread mix, all chunky Amens and reggae sound system quirks.

Something this embarrassment of riches distinctly signals. Their sound has won them plenty of admirers from within and without the subaquatic realms, and their accomplished production sensibilities combine with a knack for the infectious to ensure that their music finds its way into the collections and playlists of the more commercially minded.

Here, slow-burning beats power through acid grit, aberrant leads, and soul rich vocal bursts as the magnetic track journeys through sinister depths, before soaring strings arrive like a tidal wave of emotion. The music offers more than enough variety to engage the listener while remaining supremely coherent.

Aiming to both evoke and treat panic, the album is an uncertain arena of digitally-altered voices and blue soundscapes, which sound not unlike the calm before one such fit of terror. With knowing or otherwise sonic allusions to G.

Tonet and Oneohtrix Point Never, this is a thoroughly varied vocaloid album, with traditions from IDM, new wave and glitch resounding like neuronal overfire. It marks a complete change to anything heard prior, like an attentive, long-lost Richard Devine tune in an otherwise nervous dream.

Phobophobes — Modern Medicine Modern Sky. If truth be told the much-lauded south London scene probably starts and ends with wonky upstarts Phobophobes.

Two groups that perhaps are sending off the latter stages of a scene, which these days carries as much criticism as it does support. Phobophobes as mysterious as they are an anomaly is the go-to reference point to understand the period in between and now. Always a group formed of genuine talent comprising various weirdos and vagabonds from the core of the Brixton scene, the band seemingly fell straight from the nipple of goodness into disastrous and tragic beginnings and have frankly jockeyed ever since from one tits-up to another.

And despite the three long years, and constant internal pandemonium, since their excellent and well-received debut, its follow-up Modern Medicine emerges now, however ravaged the band, as a truly engaging, richly layered and mind-blowing affair. Great art we know comes from struggle. One can only wish them the best of luck. Over the years, the label has provided a home to artists as diverse as Jacques Renault, Nite Jewel, Bottin, Glass Candy, and even pop pin-up, Katy Perry, among many others.

Thanks in part to the lengthy gaps between chapters, volume three generated a good deal of disco heat in advance of its digital release last year, and the compilation is finally available on decidedly colourful wax.

The music contained within comes from across the extraordinarily vast label roster — including from Jewel himself as well as his bands Chromatics and Desire.

Approximately characterised by the poppier end of the neo-Italo sound, each of the 17 effervescent tracks included is steeped in production gloss. The compilation is full of highlights and is sure to appeal to crossover lovers — especially those who enjoy their disco with a measure of bad boy swagger. Ruth Goller — Skylla Vula Viel. Flurries of notes met with bouncing clusters of vocal phrases.

An idea knocked back and forth, extended and elaborated in a state of constant evolution. The result feels deeply emergent, a dialogue which is maze-like yet open ended. Featuring unusual vocals and layered vocalizations throughout, many of the tracks are built around left-of-centre bass riffs, fuzz-tone seeped lo-fi guitars and effects-laden aural textures. It sits on a gentler yet related parallel to the line that runs from The Raincoats through to Still House Plants, in that it uses spontaneity and playfulness to break inscribed convention.

Skylla captures a sense of stepping over a threshold into unfamiliar territory, elation surging through the grasping for new associations and relations. Impressive stuff all told. Franz Ferdinand — Franz Ferdinand Domino. At only 38 minutes long Franz Ferdinand may not be a particularly long album, but it is a masterpiece of funky, punky, suave cool from the first track to the last.

Alex Kapranos and co. A pinch of this and a smattering of that from here, there and everywhere. The whole album sounds sort of familiar, especially considering the time of its original release date. Like all lasting records, Franz Ferdinand steps up to the plate and still boldly bangs on the door to stardom.

With style, wit and, well, great posture. Deafhaven — Infinite Granite Sargent House. Deafheaven have never been strangers to controversy. Their seamless, genre-defining blend of black metal, post-rock and shoegaze, has often garnered as many detractors as worshippers.

Too heavy for the gazers, too serene for the metalheads. While the possibility of a fully-fledged post-punk project always seemed somewhere out on the horizon, it will still come as a shock to many to hear just how hopeful and euphoric these cascading pieces truly are. The most glaring and obvious of differences is vocalist George Clarke, who eschews his trademark shrieking and black metal rasps for a more subdued performance.

This album is a concept based on the music on Morricone which thanks to Tarentino is up there in the music conscious right now. Overall a wicked album and one that I hope is the start of the Wu returning to the fore. This will be released in cd, lp and comic. I've always been a fan of Talib and meeting him in a record shop I used to work to was a real highlight but recently I've felt he's made some dodgy choices with producers and labels.

Hip Hop is in a strange place right now and everyone is waiting for it to come around to a place of prominence and quality it used to have, this album isn't that album but it is by far the best thing Talib has done for a long while. His usual on point lyrics and flow are here but the beats and hooks are tighter and work far better than on his recent outings.

Oh No provides some wicked joints and the Rza's one is off the hook. Earth Rocker Weathermaker What a way to make an entrance. Maryland's masters of Southern hellfire crunch return with an album that recalls their heaviest and most frenzied sonic assaults of old.

Fantastical lyrical arcs have been reined in to impart words of self-aggrandizing charm "What's this about limits? Either way there's no fun, or logic, in not being on Clutch's side. The battle-scarred 'Unto The Breach' is bluescore of the thickest order, while the sultry 'Gone Cold' offers some Gil ScottHeron-esque shade amongst all that searing heat.

Go on and git some. Bands that proffer studied modern rock and think they're far more radical than they actually are. Bands that always refer to the twinset holy grail of posthardcore that is At The Drive-In and Refused yet opt to work within accepted, tried and tested, unwittingly conservative parameters, clearly wanting to be noticed rather than believed.

It's not all bad. But, ultimately, Rock Sound-friendly fodder is healthy and happily wallowing in its own bloated sense of self-importance. One part Regina Spektor, one part Kate Bush, one part Soweto gospel, her third album seethes with a displaced anger and a strong desire to find small truths amongst all the layers of corruption and cruelty.

It's deceptively rousing stuff, full of reminiscences, hopes and disappointments from the quasi-tribal lament, 'Took Them Away', and the stark piano moodscape of 'Good Hope', to the trad-strokes of 'Man Of The Book' and the none-more-dignified 'Victory'. Indeed, 'Rivonia' reads like a folk album but one Check Out The Bassline (Tweety Remix) - House Lizards - Check Out The Bassline (Vinyl) a universality that is often overwhelming.

Savage Masters Brutal Panda It's a known fact that everyone eventually bows to the power of monster rock. Zozobra's first two albums were more reminiscent of his other work, more psyche-metal than hellbastard hardcore, but on 'Savage Masters' the Boston bruisers have toned down the atmospherics, dialled up the relentless sonic whirlwind of Trap Them et al, added a slither of sludge and nailed it to anarcho-nihilistic musings that result in not-sohappy bunny vignettes like 'Venom Hell', 'Black Holes' and the titanic hammer blow of 'Born In A Blaze'.

Not ground-breaking but certainly capable of leaving a crater-sized dent. Seminal country psyche-punks, Meat Puppets, are still dodging retirement even if it does mean never returning to the wild abandon of old. Thankfully their 14th album is a gracefully fired-up beast with little sign of its predecessor 'Lollipop''s languor.

Instead we're treated to the stirring cowpunk harmonies of 'One More Drop' and the acid-prairie lilt of 'Leave Your Head Alone'; even dangling an Irish motif in front of 'Waiting' and charging guitars into dulcet melodies on 'Sweet'.

You can't imagine them making many new fans before frontdude, Curt Kirkwood, hangs up his Stetson for good or passes it onto his son, Elmo, who plays second guitar but there's plenty to like here, as long as you're not in a rush to get anywhere.

You've got to hand it to The Thermals. Not many bands who dole out ragged-trousered scuzz-pop ever get to half a dozen platters. And with instant gems like 'Born To Kill' in their new arsenal it's clear that the Portland posse have longevity and spirit to spare.

To the uncaring ear, the likes of 'Faces Stay With Me' and the elegiac 'Our Love Survives' probably sound over-stylised but The Thermals have always grasped beyond their immediate surroundings to a new wave ethos that is timeless, earnest and full of drama; like REM if they lived under a bush. And if the uber-tasteful Saddle Creek imprint are willing to embrace them, you've got no excuse not to follow suit.

It's hardly cutting-edge but what they lack in complexity they atone for with honestto-goodness, old-fashioned grit.

The sprightly 'Nailbomb' steps on the gas pedal; 'Openings' has a faint whiff of The Subhumans' paranoiac punch; and 'Zero Factor' runs off on an experimental arc, which adds necessary colour to the palette. She Lost Control [Berlin Consumer] Although this is a relatively new label, both releases so far have really impressed. Obviously Berlin based, their ethos of 'focusing on raw stripped back, industrialized techno for darker environments' means it's pretty safe to add them to the 'labels to look out for' column for Out of the remixes on offer, Rebekah's stands out, and is somewhat hypnotising but the atmospheric effort from label boss Joseph McGeechan and Monya's subversive groove are more than worthy of a listen too.

A Random Collection Of Frequencies [Nachtstrom Schallplatten] It's getting to the stage that I am blindly buying this label and their sub label Starkstrom Schallplatten 's output because you can guarantee you will get some well produced deep, dark and atmospheric grooves every time that rock a dance floor. Both originals on offer, 'Grit' and 'Change', are more than worthy of a play, with very intricate percussive grooves that really play with the distortion, while last months favourite 'Bas Mooy' with his excellent Planet Rhythm releaseturns in a dark and relentless remix of 'Grit' that builds really well and is suited for the peak time sets.

Although something a little bit deeper than what would normally be placed in my record box, a good track is a good track, and this EP from a collaboration between Bristol's Jamie and Parisian born but Los Angeles residing Art, is exactly that. Although the three tracks on offer are very similar, 'Pico 3' is the most appealing, where Warm brooding chords build up nicely over some not so pacey percussion and the overall groove is fantastic. You can really tell the Jazz influence of both artists and in true Arthouse style this has massive crossover appeal to both techno and house fans alike.

Definitely one the likes of Carl Craig and Percy X you can imagine spinning. Most releases have sounded like they want to break into the Top 40 or are just pointlessly re-hashing old ideas that were better produced years ago anyway. Thankfully you can always rely on Druck to constantly differentiate from the norm.

Here, Argentina's P. Priscilla is the heartwarming, uplifting adventure of two drag queens and a transsexual woman who hop aboard a battered old bus searching for love and friendship and end up finding more than they had ever dreamed of. Teenager Richard is plotting his escape to art had even seen.

Mum-to-be Laura has big plans for her forever home - if only Becci will sell it to her. And in the middle of the night, marine expert Mark has an unexpected visitor, a young woman with more than paddleworm samples on her mind It is a piece of dance that The Madness frontman takes to the stage in a hilarious, yet moving, is at once deeply hypnotic, playful and breathtakingly athletic.

The one man tour de force playing to monks performing in Sutra follow a rave reviews. Sidi Larbi a personal quest to discover. Cherkaoui spent several months at their Temple before devising this awe-inspiring piece.

During Sutra the monks perform spectacular, dare devil moves that can only be described as acts of faith. Curated by PhD researcher Cara Davies, this exhibition is a fragmented narrative of his creative and personal histories.

Asking: who is Franko B? What can we perceive about his identity through the archive? What relationships does this provoke between the audience, document and artist? Why do we fall in love with him? Slick, charismatic comedian and activist Kate Smurthwaite brings her unashamedly left wing, highbrow one woman show on tour. Chez Paulette has been reconstructed again, this time in Plymouth. Come along and experience that lure of the afterdark; sip an espresso, watch a detective movie, and bring that European culture that travelled to Hollywood back again.

Evil Austin Powers to a game of evil strip poker and still come out on top. His life in tatters Stark embarks on a harrowing quest to find those responsible. This film has the feeling of Kill Bill being transplanted into a Marvel comic, with Iron Man out for revenge.

In this retelling of the Sam Raimi original, five friends head to a remote cabin, where the discovery of a Book of the Dead leads them to unwittingly summon up demons living in the nearby woods. Hopefully this will be the final nail in the coffin for remakes in this genre, although I love to be proved wrong. The Cruiser plays a veteran soldier sent to a distant planet, as punishment after a court martial.

He is sent there to destroy the remains of an alien race. But the arrival of an unexpected traveller causes him to question what he knows about the planet and the destruction he is reaping on the inhabitants.

During a freak storm in the middle of the night, they awake to find a boy named Timothy, standing in their kitchen calling them mom and dad. This should be heart-warming stuff that nicely reinvents the Pinocchio tale. He finds himself trapped inside the White House in the wake of a terrorist attack in which the Commander in Chief is held hostage. But in order to redeem himself and find inner peace he uses his insider knowledge to rescue the President played by Aaron Eckhart from his kidnappers.

This effort from the director of Training Day should hopefully be good fun. He turns his hand to robbing banks as a way to provide for his lover and their new-born child. But the stakes rise as Luke is put on a collision course with an ambitious police officer, Avery Cross, Bradley Cooper looking to quickly move up the ranks in a police department riddled with corruption by bringing down our dare devil rider. Released 12 April Dir: Malcolm D. The story, if you can call it that, sees a couple begin to experience some unusual activity after bringing their newborn son home from the hospital.

All very Paranormal Activity, but what matters is the gross-out comedy, naked teens and Charlie Sheen. Could be good for a laugh or two on release. Supported by The Blood Choir. Supported by Radio Nasties and Brockley Forest. Local showcase night, supported by Holding Tides, E. Sheffield five piece. Supported by Dub Mafia.

But it. Charismatic and playful accordionista Johanna Juhola conjures a magical world that blends Buenos Aires tango halls with forest-dark Finnish landscapes. Support from Duck House and Follow the Sun. Supported by Seafire. Rock band supported by Tantrum to Blind and Rat Attack. Supported by Purson. It's simple; focused mainly on Callum Burrow's vocals and guitar playing, the outcome is extremely effective. Three-piece rock band from Belfast, Northern Ireland, supported by Gallops.

Support from Alex Taylor. Playing in the main room downstairs, supported by Keston Kobblers Club. FUN O2 Academy 6. One of this year's hottest band's FUN. Full line up at www. Danish band, supported by Anna Von Hausswolff. American songwriter, producer, arranger, and founder of Spacebomb Records. Support from Helado Negro. Aka Colin. Vearncombe, supported by Liz Lawrence. Scottish singer-songwriter. Simply Red frontman. Haunting vocal delivery and atmospheric songs conjure powerful images of urban claustrophobia and human frailty.

Support from Shadows. She is synonymous with the cross-border sound she calls Fop; the melodic middle ground where pop and folk meet. Supported by The Intermission Project. Supported by Proxies.

Amercian soulful indie and rock. Their sonic identity possesses the muscle of metal, the angular cheekbones of post-punk and the bittersweet heart of grunge. Fortnightly showcase of unplugged talent, hosted by singer-songwriter Jessie Mullen. US heavy metal band from the ninties. The legends of punk rock will be celebrating 35 years of mayhem, playing primitive punk rock, harsh and to-thepoint with an aggression complimented with a strong sense of melody inspired by the roots of rock'n'roll bred in the s.

Five piece progressive metal band from Finland, suported by Red Sea Fire. Formed in Dallas Texas, and immediately gained themselves a reputation for putting on a full-on live show, no matter who they were sharing the stage with. Dorset girl Jazz Morley possesses a voice with such natural soulfulness beyond her 23 years of age that it possibly comes as no surprise to learn that her first public performance was the first year infants nativity play! Fast forward to the present day and we find a rich, warm, emotive voice capable of the tiniest whisper of love to the full vent of a woman scorned.

He has a unique live show that mixes an old gramophone with passionate vocals, piano playing and the occasional fiddle scrape. Fast rising local rock bands.

Lamuzgueul, the infamous swing octet, will play. Get set for a Summer party like no other, whatever the weather! The band were heavily involved in the alternative and DIY underground culture in the uk during the 's as well as being purveyors of the finest Roots Reggae music throughout this period.

They are one of the finest live dub acts on the planet and promote the practice of dynamic onstage live dub mixing which they perform alongside a brass section and a vocalist.

One of the biggest bands of the 2-Tone movement, they present a wall of sound that transcends time and ska fusion rhythms to ignite a crowd. They play with the sole aim of connecting with and entertaining their appreciative audience with their relentless energy and world class musicianship. Supported by Peachy Farmer.

The prolific Fife-based acoustic singersongwriter aka Kenny Anderson received 5 stars from The Guardian last year for his incredible live performances. Support from Gummi Bako. Superb french tinged 4 pce fronted by the legendary Willy. A stomping seven-piece party band, with raunchy female vocals, a full brass section, funky bass, rocking guitar and more percussion than you can shake a stick at, playing funky ska and retro grooves, all with an edge of jazz and soul.

The electro-dub pioneers showcase favourites from their back catalogue along with new tracks in an utterly storming live show. Electrifying blues talent in the form of this harp-playing, hard blues singing solo performer. Born in a field something years ago, Thomas Ford is a blues shouter, a guitar picker and a harmonica fire-breather.

His energetic live shows have taken him from Bodmin to Berlin, his records have sold from the Eastern Block to the East Indies and he has been played on radio shows from Luton to Laos. Nominated an astounding 29 times in the Radio 2 Folk Awards, Martin is an acclaimed interpreter of traditional songs and an incredibly talented song-writer.

It's now seven years since Kate released her first single, 'Caroline's a Victim', and now she's back in with her third album, Girl Talk, a bold, passionate and personal album. Supported by Great Cy. Treetop Flyers have a quintessentially vintage American West Coast sound. Displaying strong Crosby, Stills, Nash and Young influences, the band also betray an admiration for the British folk sounds of the s, with whispers of Nick Drake and Fairport Convention amidst the canyon croons.

The Australian sax player Mikey Melican and guests combine saxophones, loopstations, beatboxing and sometimes flutes to create a potent mix of jazz-infused hip hop and dub heavy basslines. Combining emotionally driven lyrics and warm vocals with his rhythmicpercussive guitar playing, Keen's songs recall a wealth of influences ranging from Buena Vista Social Club to Bert Jansch, Coldplay to BB King. Showcasing some of the best local musicians. Tonight with The Vision. After party at The Office nightclub.

Showcasing some of the best local musicians, tonight with Stone County. So here it is. The month Cameron and his cronies let the Rottweilers of Austerity loose on the working and 'shirking' poor.

Bedroom Tax, 7pm From Aprilthe strategists have decided that, resident DJ. This is Sat 20 April called 'deficit reduction'. We all know that, in fact, it's 'ideological bullying'. Sun 20 April This is called 'protecting our rich friends'. How about, instead, we curb spending on 'defence' ie. Showcasing some of the best the public, display solidarity with our neighbours, no matter what local musicians, tonight with Even Nine. Fri 26 April And so on. Their resident DJ.

Covers band. The River records into newly configured beauties, with guitars and vocals wrapping themselves cleverly around indie-folk cadences Roundabout, Plymouth, 2nd March. This all performers, turn up and play!

Watch and learn, lamecore saddoes. See-ya bye. Music policy ranges from credible commercial to upbeat electro party beats and underground dance. Info www. A night with a stupid name for serious partying. Covering a load of great genres including hip hop, dubstep, garage, drum and bass, funk, grime, house, bashment and anything else you can throwdown to, plus regular special guest DJs.

St, Bristols busiest weeekdn indie and alternative night, with residents The Postman, Nick Baber, Chezney and special guests each month. Weekly session playing hip hop, reggae, dub, ghetto disco, jungle and more.

E, Wobbling Wookie, Moif, Jdo and more. EDEN Syndicate, 10pm-4am. FREE guestlists always available - see Facebook - www facebook.

Celebrating their birthday, they have pulled together the biggest line-up to date, supported by Section Bad Bass is returning to it's roots in Bristol. Roy Davies headlines this mid-week session - soul music mixed with electronics. Pressure is Bristol's best credible indie and alternative club night, Mr SteveBob playing cutting-edge indie and classic alternative anthems, plus regular live guest appearances on the top deck.

All that AND 2 for 1 drinks all night long, it's a sure fire winner. Expect more drinks, beats and bass than your body can handle, with a music policy of playing the freshest tunes from indie to house, drum'n 'bass, hip-hop and dubstep. More info and guestlist from www. Room Two: is Pop'aganda playing credible pop, party and cheese. Students and non-students are welcome and there is NO dress code and drinks deals galore. Get Sexy and be one of sexy people at this superclub with two rooms of fun to choose from, whatever ever your music taste, they've got it covered!

Add to that, a awesome atmosphere, great drink prices and there's only one thing to do - get sexy! Come and be blessed, your host for the evening is Father Valentine Spinoza who will be spinning all your favourite guilty pop pleasures until the wee small hours of Sunday morning, leaving you ready for Mass in the morning.

Roll out the red carpets and put ya goblets in the air, as Bambi Legs celebrates the eve of Queenys birthday with a Royal Bash. Sir David Rodigan headlines his own night! New one-day electronic music and digital art festival, outdoors in the park, but fully uncovered in special performance Domes and tents sturctures. Full details and tickets from www. Q Bar. Monkey T of Simian Sound playing guilty pleasures on the decks. Only the best DJs from the area playing for your aural pleasure.

L2 Nightclub. Calenick St. St Ives Guilhall. Branwell Mill, Market Jew Street 11pm-3am. DJ Tom Wills playing all the best tunes.

Lots of drink promotions inc. The Office. Start the weekend as you mean to go on with DJ Simon James. Inc Truro Festival after party on 12th April. Hosted by Selecta Demo. All aspiring DJs welcome. Five Degrees West, 7 Grove Place. As it says on the tin! Upstairs at Mango Tango. L2 Nightclub, Calenick St. Start the weekend early, special drink deals and resident DJ.

Victoria Square 10pm-3am. The Freerange guys are oming back to this magical little village with yet another awesome night! After shaking the hall at the last two events and showing Calstock how its done, this time will be no different! Expect D'n'B, ghetto funk, glitch. Sound Nightclub. Branwell Mill. The Club. DJ Dean playing the party classics. Expect Barry Ashworth to get the party really going tonight.

Full line up and details at www. Expect beats, breaks, dub, tech, glitch and bass. Regae and roots with Jonah Dan along side Idren Natural. Free on site camping too. Berties 9. Fore St. The Chy Bar. A selection of the best rock, roots and reggae bands from 10pm. Other highlights. Plenty of Fish has taken the country by storm making it easier to find love, friends, or a one of those "special" friends so you can meet those people you chat online to FACE to FACE at this special night - makes a change to messaging them online!

Eclipse Nightclub. Victoria Square 10pm-late. A night of Chart, Dance inc. Always a massive night Q with the DJs spinning the best music for you to dance and drink to. See weekly invites for line-ups! Part of the uprising tour, the band play live, plus support DJ's.

Chega De Saudade - Stan Getz - Seven Classic Albums Vol. 2 (CD), You Never Can Tell - Various - Pulp Fiction (Music From The Motion Picture) (Vinyl, LP), Wind Song - Wes Montgomery - Wind Song / Goin On To Detroit (Vinyl), Yesterdays - Holdfénykert (CD, Album), Maximum Overdrive - 2 Unlimited - Unlimited Hits & Remixes (CDr), 이게 아닌데 This Ain’t It (MR) - Taeyang - [YG Music] Rise (File, Album), Don Simon - Génesis - Don Simon / Quiero Amarte (Vinyl), Bullet Proof Heart - Various - Vinyl Virgins (Vinyl, LP), Cent Pour Cent Arabica Sans Sucre - Jean-Claude Vannier - Bienvenue À Bord (Bande Originale Du Film), In Deep Sleep - Cripple (3) - Green Pillow (CD, Album), Lotte - Fiorenzo Carpi - La Prima Volta SullErba (Vinyl, LP, Album), Rosanna + Luke Solo - Toto - Live In Valby Hallen Copenhagen (CD), Selamat Tinggal (Pamit) - Broery Marantika - Best Of The Best (DVDr), Sailing - Tanja* - Dont Cry For Me Argentina (Vinyl, LP, Album)