I Want You (She's So Heavy) (CD2: Abbey Road Sessions - Trident Recording Session & Reduction mix)
Goodbye (Home demo)
Something (Studio demo)
The Ballad Of John & Yoko (take 7)
Old Brown Shoe (take 2)
Oh! Darling (take 4)
Octopus' Garden (take 9)
You Never Give Me Your Money (take 36)
Her Majesty (Takes 1-3)
Golden Slumbers/Carry That Weight (Takes 1-3)
Here Comes The Sun (take 9)
Maxwell's Silver Hammer (take 12)
Come Together (CD3: Abbey Road Sessions - take 5)
The End (take 3)
Come & Get It (Studio demo)
Sun King (take 20)
Mean Mr Mustard (take 20)
Polythene Pam (take 27)
She Came In Through The Bathroom Window (take 27)
Because (take 1 - instrumental)
The Long One (Trial edit & mix - 30 July 1969)
Something (Tale 39 - instrumental - Strings Only)
Golden Slumbers/Carry That Weight (take 17 - instrumental - Strings & Bass Only)
Abbey Road (Blu-Ray Audio)
Review: There's a chance this Liverpudlian four piece will be familiar by now. This, their 11th studio outing, first unveiled as the 1960s slipped into the 70s, is a bonafide epic from an outfit that weren't lacking in epics; in many ways a culmination of their time together, marking the end of their active years and beginning of their legacy. By this stage, then, they've emerged from years spent on the inner journey and time on the outer, space cadeting to the hallucinogenic fuelled tones of "Sgt. Peppers" and "Revolver". Of course, there's still plenty of explorations happening, but the gritty blues rock of opening track "Come Together" really sets the tone. Five decades on, it still sounds great and maybe even better than you remember. Even if you own the original, this anniversary edition is worth having.
Review: The annual Cocoon compilation is a perfect snapshot of what's going on in the more popular corners of the European techno scene. Curated by label head and Ibiza party king Sven Vath, this year's edition is a comparatively deep and melodic affair. A big shout goes to Talaboman for their excellently entitled "Big Room Anthemic Groovy Pounding Trance Dub Bomb Superb!" which is indeed a big room anthemic groovy pounding trance dub bomb, while Edward serves up a more twisted roller (the excellent "End Days"), Raxon goes deep with "The Turbulent" and Mark Broom hammers home with tripped out sci-fi banger "Jaded", amongst many other gems.
Review: Jon Thor Birgisson (Sigur Ros) and his partner Alex Somers make brain cleansing and heavenly ambient as Jonsi & Alex. 10 years ago they put out cult classic "Riceboy Sleeps" and to mark the anniversary the whole album has been lovingly remastered across six slabs of wax. Taking the time to do nothing but sit back and sink deep into this album is a pleasure you will thank yourself for: its pastoral synths slowly wash over you while muted pads gently unfold, evolve and evaporate as barely-there voices from the Kopavogsdaetur Choir come in and out of focus next to smeared strings from Icelandic quartet Amiina. Perfection.
Review: Often cited as the sort of album that took hip hop in credible new directions and opened it up to a broader audience who had previously been put off by rap and all its streetwise slang and urban references, Hieroglyphics' "3rd Eye Vision" landed in 1998. It has been cited as one of the best indie hop hip albums of all time thanks to its lavish instrumentation and stellar production from Domino, with contributions from A-Plus, Opio, Del and Casual. Each of the 20 tracks tell their own stories but mesh them together and it's a coherent album overall that proves going your own way, away from the majors can be a scary but rewarding move.
Review: Russia's Gost Zvuk label has long been a firm favourite here in the Juno office. Their glitchy, mysterious, futuristic music always makes for intriguing listening and now they celebrate five fantastic years with a compilation featuring a host of closely associated talents old and new. The bumper triple vinyl collection features paranoid experimental ambient that draws to mind covert spying operations, mangled machine music like INFX's "Damaged +dn", haunting modulated synth soundscapes from OL and skeletal techno rhythms that rewire your brain like Erofeev's "11bng". It all makes for a genuinely fresh and original collection of hugely provocative music.
3rd Acts: ? Vs Scratch 2...Electric Boogaloo (0:53)
You Got Me (feat Erykah Badu) (4:20)
Don't See Us (4:36)
The Return To Innocence Lost (5:29)
Act Fore The End? (4:53)
Table Of Contents (part 3 - bonus track) (3:19)
What You Want (bonus track) (4:11)
Quicksand Millennium (bonus track) (4:09)
We Got You (feat Jaguar - bonus track) (1:13)
You Got Me (Drum & Bass mix - bonus track) (4:59)
You Got Me (Me Tienes remix - bonus track) (4:26)
Act Too (The Love Of My Life) (remix - bonus track) (3:29)
Y'all Know Who (bonus track) (4:04)
The Lesson (part III - bonus track) (4:53)
New Years At Jay Dee's (bonus track) (2:49)
Review: In our eyes, Questlove is one of the best drummers of the modern era. His playing skills have held down killer grooves by everyone from D'Angelo to Jill Scott, Erykah Badu to Soulquarians. His own Grammy Award winning band The Roots brought thrilling musicianship and live instrumentation to the hip hop game and are widely regarded as one of the best live acts in the genre. Their fourth album, Things Fall Apart, was their real breakthrough and is now presented here, remastered, with bonus tracks, rare photos, essays from Black Thought and Questlove and liner notes from Questlove. Essential.
Review: It's cult records and mythical artists like this that record collectors fawn over for years. Well this particular wait is now over as for the first time ever on vinyl you can now own two super rare 1980-82 tapes by Two Daughters. They were a mysterious pair affiliated with Throbbing Gristle and recorded all sorts of dark and haunting noise in Brixton for Nurse With Wound's United Dairies. This session is as freaky as they come, with muffled voices appearing out of the noise like apparitions. Hypnotic and daunting, droning and bleakly mesmeric, this music sounds to us like the shadowy corridors of an old lunatic asylum in the dead of a winter's night.
Review: New York's Blank Forms Editions welcome back Catherine Christer Hennix for a second album in quick time after her widely acclaimed debut last year. This one manages to hit even harder than that debut across four twenty minute suites that defy many western musical conventions. It is drone music with a difference, weird synth sounds drawn out and contorted before your very ears. It's caustic, challenging listening that plays out like the soundtrack to a horror movie in your own mind. Experimental music as occult as this truly sounds as if it comes from another planet, and tuning into it is a real thrill.
Review: The late Icelandic composer Johann Johannsson's second studio album from 2004 is one ambient-influenced classical piece that makes use of the same phrase throughout but, for technical reasons, is divided into four parts. It features a host of musical instruments, from tubas, horns, organs and trumpets to glockenspiel and bass. It's a masterpiece in minimalism and repetition, of non-linear music that traps you in the here and now, and it is a beautiful place to be when you listen to the whole album in one immersive sitting.
Review: It would be fair to say that Ernest "Ernie" Hood was ahead of his time. During the early 1970s, he was one of the few musicians in Portland, Oregon to embrace synthesizers. He was also a keen zither player and in his spare time made nostalgic field recordings of suburban neighbourhoods that matched those he grew up in. All of these things came together on his sole solo album, "Neighborhoods", an obscure - but rather brilliant - set that still sounds miles ahead of its time. It has a nostalgic tone, but is as evocative and atmospheric as you'd expect given the sonic ingredients Hood spooned into the mix. This re-mastered edition expands it to two discs, too, allowing louder, clearer reproduction of Hood's far-sighted sounds.
Review: For the past six years Jazzy Couscous has been exploring nooks and crannies of Japanese music culture in search of overlooked gems across all kinds of styles. After the success of the first installment of "Kumo No Muko", label boss Alixkun returns with another expansive collection of ambient, new age and smooth jazz reflections from a range of artists. The mood is consistently pretty, not to mention delicately executed, whether veering towards the sweet string refrain of Ayuo Takahashi's "Mizu Iro No Kagami" or the bittersweet prog guitar licks of Toru Hatano's "Kanki". There are bleepy synth trips like Akira's "Essence Of Beauty" and beat-embellished grooves to sink into - miss this rare and beautiful record at your peril.
Review: Veteran grime star and rap giant Kano uses the hoodie as a symbolic crux throughout his sixth album. It's an item of clothing often associated with criminality and errant youths, but here he re-casts it as a form of protection for young black men who have a wide range of racial and societal pressures to deal with. It makes for a politically charged album with shiny electronica next to stark and prickly beats, melancholic pianos and minimal garage rhythms. A musically expansive work that crosses many styles and scenes, but remains united by Kano's ever impassioned deliveries.
Life Is A Movie (feat RZA & Irfane Khan-Acito (Of Outlines)) (3:10)
Elastic Audio (live - bonus track) (4:02)
Review: Wu-Tang are very much in the headlines right now thanks to the four part Netflix documentary series that is chronicling their essential history. The collective's various members famously went off and served up a number of killer side projects, including this one from GZA. It's his fifth studio album from 2008 and features nuggets like the 50-Cent baiting beef track "Paper Plate" as well as other uptempo joints laden with the sort of sombre soul that defines much of Wu-Tang's work, all with GZA's potent rhymes front and centre. For such a prolific artist, the quality levels remain remarkably high here.
Review: Since he released his first album 11 years ago, bandleader, trumpeter and composer Matthew Halsall has proved to be one of British jazz's standout talents. In recent years he's delved into soul-jazz and big band jazz territory, so it's intriguing to find that "Oneness" is a much more spiritual, pared-down and minimalistic affair. Using a mixture of droning Indian instrumentation, languid and leisurely harp motifs, selective horn solos, melancholic trumpet lines and occasional traditional jazz instrumentation, Halsall has conjured up a series of meditative pieces that count among his most beguiling works to date. It may surprise a few listeners, but many more will find it enchanting, otherworldly and emotion-rich.
Review: Under the Special Request alias, Paul Woolford has released some stellar music this year. Astonishingly, "Offworld" is his third album of 2019; it could well be the best, too. It explores different sonic territory too, drawing heavily on electro, futurist Detroit techno, Boards of Canada style IDM and the slick 1980s productions of Jam and Lewis. The result is a stunningly beautiful, spacey and far-sighted set that contains some of Woolford's most emotion-rich work to date - and that's saying something. It also finishes in stunning style with an impeccable remix/re-make of the Grid's "Floatation" that sounds like the best early 90s Orb remix you've never heard.
Review: Who remembers when Hip Hop was a force for good? A happy, colourful sound brimming with positivity and realness, rather than the blingy boasts of studio gangsters? Whether you do or don't, this new Daisy Age compilation by Saint Etienne's Bob Stanley is a timely release that shines a light on that small but golden era back in the late 80s. Key protagonists like Jungle Brothers and A Tribe Called Quest, as well as De La Soul, whose "3 Feet High and Rising" album was at the centre of this micro-movement, all feature alongside Pop and R&B with a similarly positive outlook. Essential.
Smile (feat Ms Dezy, Aloe Blacc, Latoiya Williams) (4:12)
Fruitful (feat Sean Biggs) (4:31)
Big Mel (2:56)
Review: Cali-bred, Nevada-based couple G&D aka Georgia and Dudley have long been dealing in lyrically challenging hip hop that brings racial issues to the fore. More relevant and impassioned than ever in the era of Trump and his MAGA nonsense, Dudley says of this new album, "Truth fucks with people. This ain't just music; it's a message and a tool to raise up the spirit of the black race". As such the album mixes up those ideas with g-funk, soul, 70s funk, psychedelic sounds and contemporary beat making into an album that runs the gamut of emotions and will keep you coming back for more.
Review: While he's continued to offer up occasional singles, Bonn-based producer Dominik Eulberg has not released an album for eight years. It's for this reason that "Mannigfaltig", the former Traum Schallplatten regular's new set, is big news. Interestingly, it's nowhere near as club-focused as you'd perhaps expect, with Eulberg combining his usual glitchy, tech-house influenced beats and sounds with a range of intricate electronic motifs, sumptuous melodies and atmospheric aural textures. There are one or two club cuts, of course, but majority of the tracks bob along at a more sedate pace, with Eulberg offering up cuts that draw influence from IDM and hazy electronica. As a result, it may well be his most coherent and "listenable" album to date.
Review: This 1988 debut album from Jungle Brothers eschews the use of the sampler, choosing instead to lay down these fresh beats by recorders, all looped by hand, eight bars at a time. The record also features Q-Tip for the first time on the excellent "Black Is Black" which features one of the few samples on the album as the voice of Gil Scott-Heron is stitched into the rolling beats. Smash hip-house hit "I'll House You" was added to later versions of the album and is included here with other gems like "Braggin & Boastin" and "Behind the Bush".
Review: Christopher Rau is a true stalwart of the German deep house scene, with releases on a who's who such as Smallville, Office, Mule Musiq and Die Orakel over the years. FME Hustle is the Hamburg native's new one, where he can count Berlin urban house heroes Money $ex to his list of credentials. Expect the same soulful and dusty deepness from the man, as he's been consistently pumping out for close to a decade from his new home in the capital. From the broken emotive groove of "Jetlag Alter", the neon-lit lo-fi hiss of "Uebelst Bekorbt House Mix" or the textured/dub-laden tech house of "Drama - Chamber" Rau further demonstrates exactly why he's still one of the most highly respected producers within the genre.
Review: After years spent offering up impressive blends of ambient, drone, electronica and experimental drum and bass as ASC, James Clements has decided to commit more time to Comit (sorry), an alternative project which first surfaced via a debut single in 2016. Here the San Diego-based Brit delivers a first full-length excursion under the alias. There's plenty to soothe and seduce on the eight tracks stretched across two slabs of wax, from the undulating, occasionally skittish beats and sweeping chord sequences of opener "Behind Dulled Eyes" and the icy, doom-laden electronic melancholy of "Reverie", to the early Black Dog Productions flex of "Clouded Over" and the dubbed-out, slow motion bliss of "Soft Focus".
Review: Early 80s new Wave pop outfit Haircut One Hundred are best known for their big single "Love Plus One" but this album proves they were more than one trick ponies. Infusing their pop, rock and synth sound with Conga, woodwind and Brazilian percussion leads to superbly colourful tracks that brim with sunshine. There's an upbeat and youthful innocence to "Favourite Shirts (Boy Meets Girl)" that is utterly infectious, while busier post punk funk like "Love Plus One" will get you on your toes even after all these years, and "Kingsize (You're My Little Steam Whistle)" gets all sexy with its lead sax and clattering steel drum tumbles.
Ian Dury & The Seven Seas Players - "Spasticus Autisticus" (version) (6:57)
Material - "Over & Over" (long version) (5:38)
Was (Not Was) - "Wheel Me Out" (7:12)
Dinosaur - "Kiss Me Again" (6:53)
Don Cherry - "I Walk" (3:14)
Common Sense - "Voices Inside My Head" (6:29)
Nicky Siano - "Move" (5:45)
Indian Ocean - "School Bell/Treehouse" (10:13)
Review: Second time around for Joey Negro and Sean P's peerless collection of post-punk era New York club cuts, a compilation that proved hugely influential when it was first released way back in 2000. The track listing strangely omits one track present on the original release (the full 16-minute version of Steve Miller Band's "Macho City"), but otherwise it's a faithful reproduction. Highlights come thick and fast throughout, from the eccentric electrofunk of Yoko Ono's "Walking On Thin Ice" and P-funk influenced strut of Material's "Over And Over", to the skittish jazz-goes-dub disco bustle of Don Cherry's "I Walk" and the low-slung percussive voodoo of Nicky Siano's "Move". The undisputed master of NYC leftfield disco, Arthur Russell, is represented via cuts from Loose Joints, Dinosaur and Indian Ocean.
Review: "Do You Like My Tight Sweater?" is the album that announced Moloko to the world, but is also one of their most experimental. The dance duo's debut featured big singles like "Dominoid" and the UK Top 40 charting "Fun For Me", which was also used in the Batman & Robin soundtrack of 1997. The album finds producer Mark Brydon combining elements of trip hop, big beat, disco and electronica with Roisin Murphy's sensuous and widescreen art-pop vocals, despite the fact that at the time she had zero prior professional experience. This timely limited reissue comes on heavyweight turquoise vinyl and reminds us of a golden era of UK electronica.
Review: Since initial release in 2003, this classic from Atmosphere has been in and out of print and received various represses as a result. It is the gift that keeps on giving, frankly, it is an album takes you on a metaphorical journey through politics, emotions and the physical. Personal stories and vulnerable truths come from Slug's rich writing and richer delivery combined with complex rhythms, cosmic synths and funky drums that all help elevate the record yet further. It might not get the props of many of its peers, but this underrated gem should be on the shelves of any discerning hip hop collector.
Review: The late Pete Namlook remains a giant of the ambient world. His vast catalogue of works has defined and redefined the genre over and over again, often alongside fellow greats from Move D to Richie Hawtin. In 2016, however, it was Klaus Schulze at the controls alongside his German countryman and together they cooked up this eight-part adventure into cosmic ambience and psychedelic sound design. Some parts reference Eno's seminal "Apollo: Atmospheres & Soundtracks", some are more synth heavy, Vangelis-style epics, and some dip into Detroit techno for their cues. It makes for an album as expansive as it is excellent.
Martha Reeves & The Vandellas - "I Can't Dance To That Music You're Playin'" (3:57)
The Jackson 5 - "The Love You Save" (4:17)
Bobby Taylor & The Vancouvers - "I Heard It Through The Grapevine" (3:43)
Sam & Dave - "Soul Sister, Brown Sugar" (3:18)
Aretha Franklin - "A Change" (3:33)
Sugar Pie DeSanto - "Go Go Power" (4:20)
Joy Lovejoy - "In Orbit" (3:52)
Judy Clay & William Bell - "Private Number" (4:30)
Review: Jobbing DJs will do well to pick this one up: it's a way to bring some original soul into your sets while also serving up some big tunes that people know and love. These careful edits pump up the sunny elements, layer in funky riffs, energetic strings and up the tempos of tried and tested classics from The Jackson 5, Marvin Gaye, Sam & Dave and plenty more golden oldies. Our picks: Bobby Taylor & The Vancouvers' fine cover of "I Heard It Through The Grapevine" and Sugar Pie DeSanto's hardcore swinger "Go Go Power" that's sure to get those hips moving.
Review: Francois J Bonnet (a composer and electroacoustic musician) and Stephen O'Malley (the main man of metal band Sunn O)))) come together here for their first collaborative album. It combines O'Malley's doom laden guitar work with Bonnet's compositional skills to make for a dynamic soundscape that has the sort of grand ambient architecture that places you right at the heart of it all. Dark yet inviting, it is noise that nurtures and comforts you despite its rather foreboding overtones. Orderly yet alien, desolate yet filled with human emotions, "Cylene" makes for a compelling listen.
Review: Given that it's called "Coloured" and appears on shocking pink vinyl, you'd expect Adam Longman Parker's debut album as Afriqua to be a decidedly vibrant and kaleidoscopic affair. It is, of course, with Longman Parker offering up tracks that mix tropical-sounding electronics, glassy-eyed synthesizer motifs, processed vocal sounds and evocative musical flourishes with jaunty, interesting rhythms that neatly sidestep conventional genre rules. It's a mixture that makes for hugely enjoyable listening, with highlights coming thick and fast. These include - though are by no means limited to - the densely layered dancefloor cheekiness of "Shout", the minimalist ambient bliss of "Noir", the hypnotic, intergalactic oddness of "Native Sun" and the bubbly club warmth of "Jumpteenth".
Review: Ilari Larjosto has worked with Austrian Finnish trio Skymax and collaborated with the likes of DJ Fettburger as 358 Men, but now becomes Stiletti Ana for a debut solo record that explores the similarities and differences between synth, kraut, techno, kosmiche and new age ambient. The multidisciplinarian artist has a widescreen cinematic style that will expand your mind to an infinite horizon. This is music with real architecture that invites you deep within to be more attuned to what is unfolding around you.
Review: Holden's 2006 debut album was an astonishing one that gets a timely reissue on double crystal-clear splatter vinyl. A high watermark for proudly synthetic and computer made music, it was the bold arrival of an artist who endures as an innovator to this day. "The Idiots Are Winning" is a masterclass in unhinged grooves, glitchy electronic sounds and mutant sounds that set a new benchmark in experimental textures, sound design and dance floor clout. "Idiot" is the standout banger, "Lump" is more trippy and heat workout, and "10101" is the twitchy and mesmeric workout you cannot escape. Music as idiosyncratic as this doesn't come along too often, and even 13 years left it still sounds fresh.
Review: Ill Considered is a fully live and improvisational jazz band made up of four members. They loosely pre-write themes then set to making music without communication or knowing where on earth they might end up going, or what they might sound like. It's a rule breaking approach that leads to rule breaking but brilliant music layered up with deep, walking bass, dense drums and freeform sax that feels impossibly alive. "8" is another bristling work of rhythm and conversational top lines that exudes a controlled sense of chaos, bubbled under with menace and remains thoroughly unpredictable and exhilarating from start to finish.
Review: Eyes Down takes its name from the period in 1991 where subway riders in New York City were told to keep their eyes down for fear of upsetting someone and provoking them into a stabbing or similar. It was the mostly deadly time in the city for murders per capita and there is certainly an unsettling, paranoid air to the gritty synth sounds of Mr Eff's latest album. The automation of the trains, the darkness of the tunnels and the daydreaming mindstate of riding late at night also feature across its 10 cinematic and evocative tracks
Review: In 1980, Don Slepian sat down with one synthesizer - a Korg PS-3100 - and a Mellotron and recorded two lengthy pieces inspired by a mixture of new age music, formative ambient sounds and American minimalism. The results - recorded live in two takes, with no overdubs - were released on a tiny label as "New Dawn - New Music For Digital Orchestra". As this licensed reissue proves, the music remains as beautiful and beguiling as ever, with both pieces offering slowly unfurling melodies, sustained chords and the kind of twinkling electronics that would later become the hallmark of 90s ambient producers such as Pete Namlook. If you love heady horizontal soundscapes and floatation tank atmospherics, this should be an essential purchase.
Cult Hero (Do You Wanna Touch Me) (with Simon Topping
Sly Is Watching
(Vi-Vi) Vicious Games (with Josh Caffe
Review: When it comes to jackin' Chicago style acid house revivalism, few can hold a candle to Paranoid London. As this long-awaited second album proves, the duo is the undisputed masters of sweaty, TB-303 driven jack-tracks and - as recent single "(Vi-Vi) Vicious Games" and LP opener "Starting Fights" prove - classic-sounding vocal cuts that recall the glory years of Fingers, Inc in the mid-to-late 1980s. Interestingly, "PL" boasts far more collaborations than we've seen from Paranoid London before, including a string of ragged club cuts blessed with evocative spoken word vocals, a thrusting acid throb-job with lead vocals by Simon Topping and a suitably twisted, machine-driven hook up with Arthur Baker and Alan Vega (the raw and weighty "Angel Of Hell").
Me! I Diconnect From You (BBC Peel Session) (3:07)
Down In The Park (BBC Peel Session) (4:18)
I Nearly Married A Human (BBC Peel Session) (6:38)
Review: Beggars Banquet turn to their Arkive arm for this 40th anniversary edition of Tubeway Army's classic early works. "The First Recordings", from 1979 has been identically sequenced as the original release with early versions of the tracks. Alongside hits "Replicas" and "Are "Friends" Electric?", our picks of the batch are "Me! I Disconnect From You", an archetypal deadpan delivery with mechanical grooves, the grungy and rock-laced "Only A Downstat" and lovable robo-pop "We Have A Technical".
Review: After the game-changing success of his debut album, "Timeless", Goldie could have easily repeated the same trick and cashed in. Instead, he went completely the opposite direction and indulged himself in an hour long orchestral symphony (many years before the current trend for such shows became a thing). Collaborations with Noel Gallagher (the vulnerable "Temper Temper"), personal tracks that address his mother, and a long lost suicide note. Musically, the now 21 year old "Saturnz Return" is mostly dark and broody jungle that will re-wire your brain, though "Digital" and "Fury - The Origin" offer moments of soaring beauty.
Review: This newly expanded reissue of classic Desmond Dekker compilation "Double Dekker" includes six rare bonus cuts next to the rest of the material that helped it make such an international impact. There isn't much cross over with other compilations, either, making it a must for fans of the late vocalist. Interestingly, this release was compiled after Dekker had left Trojan for the newly formed rival Creole, and it went on to become one of their biggest sellers, at the same time as putting his newer recordings into the shadows. So sink in and enjoy one of rocksteady's best.
Review: This new album from Warmth is made up of condensed compositions from their third ambient album 'Parallel' and showcase their mastery of spiritual, pure and cathartic synth work. Listening to this is what you might imagine passing from this life to the next sounds like - all consuming and intense yet somehow empty and utterly devoid of distraction. It is a meditation in sound that subtle evolves with intricacies that real themselves upon close headphone listening. Alternatively, put it on to sooth a busy mind and allow it to send you off to sleep.
Review: "Dreams Are Not Enough" is not only the first Telefon Tel Aviv album for a decade, but also the first since the accidental death of founder member Charles Cooper the same year. It's perhaps understandable, then, that the album is bittersweet and melancholic in tone, with surviving member John Eustis offering up a range of drowsy, dream-like songs and instrumentals - think layered ambient, gentle Balearic synth-pop and tear-jerking late night soundscapes - that seem more laden with feeling than anything he or Cooper released during the band's successful early years. It's a genuinely beautiful, poignant and picturesque set capable of stirring emotions in even the most steely of listeners, and a fitting tribute - if, indeed, it was meant to be - to Telefon Tel Aviv's missing member.
Review: First released way back in 1992, Radio Tarifa's debut album "Rumba Argelina" has long been considered something of a global fusion classic. Reissued here on vinyl for the very first time - weirdly, it has only ever been available on CD in the past - the album has lost none of its charms. It's naturally rooted in various strains of traditional Spanish music - flamenco, Andalucian folk music and so on - but also incorporates musical elements from North African and Arabic music, with occasional nods towards tango and such obscure (but surprisingly enjoyable) styles as German medieval music.
Etron Fou Leloublan - "Le Desastreux Voyage Du Piteux Python" (10:43)
Jean Cohen-Solal - "Captain Tarthopom" (3:03)
ZNR - "Solo Un Dia" (3:01)
Red Noise - "Sarcelles C'est L'Avenir" (15:22)
Pierre Henry - "Generique (Theme De Myriam)" (2:20)
Horrific Child - "Frayeur" (8:42)
Jean Guerin - "Triptik 2" (2:19)
Dashiell Hedayat - "Fille De L'Ombre" (5:47)
Review: French post-rock group Nurse With Wound famously noted a number of artists on their legendary 1979 debut. This fascinating compilation on Finders Keepers finds band member Steven Stapleton chronicling them all, and it makes for an often intense story full of noise experiments, soot-black guitar playing and haunting atmospheres. Rarely less than peculiar, tracks like Jean Cohen-Solal's "Captain Tarthopom" sounds like a curious fairground ride, Red Noise's " Sarcelles C'est L'Avenir" is the stuff of nightmares and "Triptik 2" by Jean Guerin is as weird as music gets. As dark nights and spooky season approaches, this is a perfect go-to.
Review: Previously only available on CD back in 2001, this Best Of Fad Gadget collection finally lands on vinyl with inners including liner notes by Paul Morley. It draws on four of the cult band's most acclaimed albums and includes early singles like "Back to Nature", " Ricky's Hand; Handshake" and "Lady Shave." An undoubtedly large influence on the ensuing noise, industrial and EBM movements around Europe, this album highlights just how ahead of its time this music was with its angular guitars, dead pan vocals and twisted electronic sounds. Artful, roguish and energetic while being prescient on subjects like sexuality and mass media, this is an essential collection.
Review: From 1986-1991, Uruguayan vocalist and musician Mariana Ingold was a pivotal figure in the evolution of the indigenous Candombe rhythms of her homeland. She took the sound in new directions with artists like Eduardo Mateo, Jaime Roos, and Hugo Fattoruso across a series of albums that made use of the newly emerging synth technologies of the time. The result is a folk-y album of found sounds, acoustic guitars and majestic harmonies that are all tied together with Ingold's own delicate, elegant vocals. This collection draws her best work into one beautiful anthology that has upbeat numbers like "Trasnoche" next to soothing lullabies such as the heavenly "Tiempo Leve".
Review: "Sonic Citadel" marks Brians Gibson and Chippendale's seventh studio album and it is one that finds them revealing a little more of themselves than before. "Blow To The Head" is an intense opener with caustic texture, dense layers and scuzzy noise that soundtracks a manic episode, while elsewhere there are much more angular and punk influenced rhythm tracks with deathly vocals mired in gauzy riffs engulfed in dirt, grit and sandpaper sonics. Standout track "Halloween 3" is a suitably horror fuelled track of high energy, lo fi fuzz that will keep any demons away.
Wartilla (feat Warren Ellis, Stephen O'Malley) (4:08)
Review: Malian musicians have a rich history when it comes to turning the world on to organic, mystifying, exotic sounds. A country that - even for Africa - stands out as a hotbed of aural talent, artists hailing from the desert nation never fail to immerse and intoxicate us. Here tracks grow and groove like a hypnotist at work, embracing Western influences, not least psychedelic rock, to produce what might have happened if Jim Morrison went walkabout in the Sahara looking for inspiration. As an album, "Amadjar" is everything that description might make you hope for. Opening on the delicate, spatial guitar plucks of "Tenere Maloulat", you can see the oasis shimmering in the distance through heat vapour. Evocative stuff, from there it only pulls us in deeper into an amalgamation of sounds overflowing with an adventurous atmosphere.
Review: Jamaican ska vocalist Justin Hines was one of the many popular jewels on Duke Reid's Treasure Isle label. He often worked with the Dominoes backing singers and their first album, reissued here by Music On Vinyl, was reportedly a firm favourite of Bob Marley. Pure roots at its finest and straight from the mid-seventies, this is feel good music that brims with warmth and earthy vibes. It's a celebration of dreadlock culture, the beauty of the Jamaican motherland and a fine reflection of the horizontal pace of life out in the Caribbean.
Review: A true hot stepper and one of the best of its kind, this 1984 masterpiece from Ini Kamoze is heavy, real and authentic. It was actually Jamaican born artist Cecil Campbell's debut album and features spacious, slow motion dubs that invite you deep within their cavernous drums. The chattery percussion, echoing hits and loose percussion all make a real mark. "World-A-Music" has a beat fans of Damien Marley will recognise, and "General" features some of Campbells more vulnerable vocal work. For fans old and new, this is a perfect roots album with a unique perspective.