Alice Schwarzer, Is It True That You're A Person Of Great Tenacity? (2:10)
John Cage, I've Been Told To Ask You The Following Question: Where Are You Going? (2:58)
Hubert Fichte, Your Journey Through Life Has Been Full Of Twists & Turns. Please Tell Us When & Where This Journey Began! (2:18)
Slavoj Zizek, What Signs Were There Of The Imminent Dissolution Of Yugoslavia? (1:52)
Joseph Beuys, It Was You Who Said: Democracy Is So Big One Can Only Sing About It: You Recently Made Your Debut As A Singer: Which Democracy Are You Singing About? (3:05)
Lady Gaga, You Once Said In An Interview That You Write Music For The Fashion Industry: Is Fashion As Important To You As Music? (2:13)
Ernst Jandl, What Are Your Plans For Language: Revolution, Reform, Revolt? (1:57)
Karlheinz Stockhausen, Which Difficulties Are Involved In Conserving Electronic Music On Magnetic Tape? (2:23)
Marcel Duchamp, Would You Like Or Expect People To Spin The Wheel On Your Kinetic Object Roue De Bicyclette? (2:19)
Friederike Mayrocker, When You Write, Do You Feel Like The Creator Of The Work Or More Like A Medium? (3:12)
Yoko Ono, You Were Born Into A Rich, Aristocratic Family In Tokyo. Do You See That In Yourself? (2:08)
Max Ernst, This Is The First Time In Twenty-Five Years That You've Returned To Your Old Home Town, To The Cathedral In Cologne, Right? (2:02)
Review: Over the years, Jan Jelinek has been responsible for some fantastically inventive experimental records. His latest is a concept album inspired by a radio play he wrote for German radio, in which every collage-style track was crafted from an interview with a different public figure (these include Yoko Ono, Marcel Duchamp, John Cage and Lady Gaga). These vocal excerpts, which include non-verbal sounds as well as speech, were also used to control a synthesizer. While the nuts and bolts are pretty far-sighted and next level, the results are actually rather enjoyable and easy to listen to. For every dystopian, mind-altering cut-up track, there are four or five others that veer closer to left-of-centre ambient bliss. It's an intriguing and hugely entertaining collection, all told.
Review: These days, we're all familiar with Jan Jelinek's trademark brand of dusty, dubbed-out, jazz-sampling downtempo explorations. That wasn't the case when Loop Finding Jazz Records, his acclaimed debut album, first appeared back in 2001. It has since become an in-demand item, making this reissue more than handy. It remains a fine album; a blazed shuffle through a sonic world where dub techno, ambient, minimal house, jazz and downtempo grooves and seductive vinyl crackle merge into one intoxicating hybrid sound. It's not showy and over-the-top, but rather becalmed and subtly seductive. In other words, it's still a brilliant album and if you don't own already own a copy, you should add this to your cart sharpish.
Review: Glass Candy and Chromatics member Johnny Jewel is back with a new LP, Double Exposure, which is now the producer's sixth album for his own Italians Do It Better imprint. In fact, while we're on the topic, it's important to note that the label is regarded by many as the mecca of of hah-quality electro and synthwave but, most importantly, that it has been so way before the current trend hit the ol' hype-wheel. In short, hats of to old Johnny boy! Double Exposure opens with the dark, looming beat of "The Hacker", all phased and wrapped in glorious distortion, but things quickly turn much nastier and cut-throat through the likes of "The Chase" or "Telekon", the latter being a particularly startling noise affair. As the LP flows into even darker, cyber-punk territories thanks to tunes like "Cyborg", there's a growing sense that Johnny Jewel has the art of science fiction very much front of mind; even "Emerge", with its vast and aqueous landscapes contains the same sort of look and feel as Ridley Scott's infamous Blade Runner. Everything from the cover to the beats themselves emanates a sort of decadent beauty, a net-romantic glow made palpable by Jewel's single-minded vision.
Review: Even by the impressively experimental standards of Low Jack and Jean Carval's Editions Gravats label, the work of French producer Jean-Francois Plomb (AKA JiFlure) is particularly out-there. Plomb makes music using Heath Robinson-style machines he's crafted from spindles, pulleys, cogs, mallets, and thumb pianos powered by windscreen wiper motors. He uses these, and a few processing pedals, to create fantastically spectacular live performances. Extraits is the producer's debut album, and contains four superb cuts that variously clank, clonk and swing, creating loose but funky percussion patterns onto which humid melodies lines are overlaid. Given the homemade origins of the instruments, Extraits is not only surprisingly listenable, but also hugely entertaining.
I Ain't Scared Of No Devil (with DJ Godfrey Ho) (4:36)
Somethingtochewon (with Henry Wu) (3:00)
Goodlord (with Nick Walters) (2:29)
Youkilledmyson (feat Loretta Smith) (2:22)
Review: Born in the Indian city of Gauhati, Jitwam grew up in New Zealand, Australia and London and lived in Thai monasteries and South African orphanages. Gradually, he gained the tools of an accomplished multi-instrumentalist, singer and producer. He has now arrived in Brooklyn - as sedentary as you can be with such a CV. His musical foundations correspond to a worldly career where he absorbed all that is is good musically: Moondog, Velvet Underground, RD Burman, Asha Bhosle, Jay Dilla, Madlib and Moodymann, to name but a few. The aforementioned Kenny Dixon Jr. used a track of Jitwam's in his DJ Kicks compilation - this did not happen by chance. This self-titled album appears for Berlin's HHV in cooperation with Auckland based Cosmic Compositions. It was mainly mixed and mastered by maverick beatmaker Matthewdavid at California's Stones Throw Studios. A series of stumbling, jazz/soul-rooted beat sculptures, each buried beneath a haze of fuzzy psychedelia, broken microphone blues and articulated through a freestyled process he describes as "first thought, best thought". This album solidifies Jitwam's spot as a major emerging talent.
Odi Et Amo-Bis (Johannson/Donadello rework) (2:55)
...Eins Og Venjulegt Folk (Paul Corley rework) (3:28)
Odi Et Amo (Theatre Of Voices version) (6:25)
Review: Icelandic neo-classical producer Johan Johansson could not be considered anything less than a pioneer and a driving force behind the contemporary ambient movement. Although his music is grounded in non-electronic instrumentation, he has allowed the analogue and digital world to gel more freely, giving inspiration to other like-mined artists. Thanks to releases for powerhouses such as Touch or 4AD, he has constantly grown and evolved, but it's this call-up to Germany's enedlessly respected Deutsche Grammophon which truly instils the sense that he is a master of his own art. Englaborn & Variations is a long and meaningful story, constructed with precision and vision, with the sounds of classical strings taking it from bleepy drone to an orchestral symphony of tonalities. An important record.