Review: Uber always knows the right kind of moody, heads down Balearic throb to get stone-cold chillers nodding their heads in approval, and so it goes on this latest transmission from Wawawiwas. "Sadness Of Being" is a perfect introduction to this duo, with the dub tropes turned up to full and the bassline grooves as slinky as they come. In between the heavy delay and reverb there's a real sense of stride about this track, which Max Essa capitalises on when dropping the more beat driven remix on the B side. The broad premise of the original remains intact, with just a little more emphasis on the synthy side of things.
Review: Bamboo Room lands on (Emotional) Especial in a fit of 80s grooves as you would expect to find on the label, but this is in fact the handiwork of debutant duo Duncan Thornley and Laurence Horstman. As Weird Weather they're exploring the fertile hinterland between proto-house, dub abstractions and worldly sounds - they may not be the first to do so, but they sound like complete naturals in this curious bubble. "Sequence 5" is a driving beatdown peppered with space-shaping delays and reverbs, while "Trash Dolphin" takes a cooler approach with some delicate percussive tones and chimes. "Bamboo Room" is a stark, stern beat track fit for a mid 80s cop thriller soundtrack, and the "Ormus Mix" that follows shrugs off most of the drums and heads into satin-lined ambient territory.
Review: The latest volume in Music From Memory's impressive 12" series of reissued obscurities takes us back to late '80s St Louis and the hard to find world of Workdub. Formed of Virgil Work Jnr. and Nicholas Georgieff, Workdub's output was restricted to a pair of highly limited albums recorded between 1989 and 1992. All four tracks are taken from these two albums, and offer a lucid, ear-catching fusion of early ambient house electronics, experimental oriental synth-pop, alien jazz breaks, spacey Detroit influences, and stuttering drum machine rhythms. It's a hard-to-place but wonderfully evocative mixture, arguably best displayed on standout opener "Island Breeze". That said, the curiously Balearic, Tangerine Dream influenced "Caravan" is rather tasty, too, while its' ambient alternative mix, "Caravan Revisited" is almost overpowering in its' simple beauty.
The Music You Hear At Sea World & Never Forget (Tropical Hi-Fi remix)
Review: Featuring 4 producers that cross musical spheres is the labels way and again roster members are handed the keys to the treasure while welcoming other, less unknown producers a chance to highlight their aural visions.
Starting with the ubiquitous Secret Circuit, here following up his blissed out releases for the label with a first remix. Respecting Luke's leftfield production, but layering his trademark guitar work with a motorik groove, distant harmonic bells and uplifting keys that bring the friends and producers music in a Balearic tandem.
This is followed with William Burnett's Black Deer alias taking the wonderful, but sadly short I Recommend Starman and coming up with an extended edit that allows this modern krautrock masterpiece to truly shine as it should. Simple yet perfect.
On the flip is Not Waving's Alessio Natalizia with a beautiful take on the loved-up, R&B meets Aphex MDMA rush of Time For Thick. Totally replaying the song himself, it is the light industrial percussion and repeating keys that take the track on a journey to the skies.
Finally then, the EP comes back down to earth and closes with new label member, Australia's mysterious Tropical Hi-Fi. Taking the brooding ambience of The Music Hear At Sea World And Never Forget and turning in a drone meets field-recording masterwork.
Review: There are plenty out there - the team behind Dark Entries Records included - who will happily tell you that that Time Actor is one of the finest and most overlooked albums of the 1970s. It was the debut full-length of Richard Wahnfried, an alter ego of pioneering German ambient don and electronic experimentalist Klaus Schulze preserved for collaborative projects. In the case of Time Actor, that collaborator was Arthur Brown (he of "The Crazy World Of..." fame), whose half spoken, half-sung vocals provide a focal point throughout. Musically, the album is deliciously trippy and other-worldly, with Schulze delivering a swathe of fine electronic grooves and bubbly Berlin School soundscapes. This edition also boasts a brilliant bonus track: a 12-minute, 1983 "Afro-cosmic" revision of the title track by Italian Maurizio Delvecchio.
Review: Emotional Rescue unearth yet another pearl of curiosity from the mists of the 80s here, kicking off a series looking at the work of guitarist Carl Weingarten. This album is a fine place to start, as Weingarten teams up with Walter Whitney for an engrossing exploration of ambient synth work merged with careful use of slide guitar and more besides. It's very much of its time, originally released on Multiphase in 1985, and it's as charming and naive as it is accomplished. There's a new age sweetness to the harmonic composition, but the sound palette is deceptively deep, not least thanks to Weingarten's multifaceted approaches to his instrument. Dreaming In Colours sets a promising tone for what the rest of the series holds.
Review: The tireless Emotional Rescue dig once more into the well of cultish music from days gone by with a fully remastered reissue of Whichever Way You Are Going You Are Going Wrong, the debut album from brotherly duo Woo. Originally released back in 1982, this thirteen track set finds Mark and Clive Ives delivering a hugely ahead of their time exposition of hard to categorise electro acoustic folk. This hugely prolific pair was once described as "sounding like the music the Durutti Column would have made with Penguin Cafe Orchestra if produced by Brian Eno" and whoever came up with that obviously had Whichever Way You Are Going You Are Going Wrong in mind.
Review: Last year, Music From Memory released an EP containing a handful of tracks from previously forgotten Missouri outfit Workdub. On the back of that, interest in their hard-to-find back catalogue rocketed, hence the appearance of this handy compilation on Left Ear. Subterranean (1889-95) contains material from each of the fluid collective's full-length excursions (one album and two cassettes) and is as evocative, imaginative, loose and enjoyable as the tracks previously showcased by Music From Memory. Stylistically, the material is thrillingly hard to pin down, though we can hear clear nods to dub, post-punk synth-pop, electro, Balearica, electronica and ambient amongst the ten superb selections on show.