Emotional Response open the Secret Circuit archives to some of Eddie Ruscha's contemporaries from the City of Angels for a fine exercise in how to do a remix 12". First up is Suzanne Kraft, aka Diego Herrera who forms one half of Blase along with Ruscha; in his hands the crazy afro-stylings of "Afrobotics" are pulled towards the dancefloor, adding percussion and sirens, forging the originals vibes in to a ethno-beat club jam that is all about that heads down moment. Next up The Samps turns "Shockers" into a warped mesh of psychedelic dance, whilst Superior Elevation's Tom Noble adds some killer boogie vibes to "Underdogs". Finally Sun Araw man Cameron Stallones appears under rare alter-ego Aristrocrat P. Child to re-edit "Roll" in superb fashion.
Alessio Natalizia's Not Waving moniker goes from strength to strength, even since ending his collaboration with Sam Willis in the highly regarded Walls project. Now focusing on the textured, modular workouts and cinematic synth journeys seen on the brilliant two previous albums Umwelt and Human Capabilities, he returns with his most ambitious outing yet. This double LP gathers together all the material Natalizia issued on the cassette series of the same name and is a must for those who like their electronics immersive to the max. From the retro futurism of "Witzelsucht" and "It Needs No Medication" to the brazen industrial attitude of "The Behaviourist Approach" and "Creating Capabilities" there are many moods of his musical identity that he explores here. But for most part its the beauty in the soulful mechanical soundscapes that he creates on this imaginary soundtrack, particularly on "Part of Thought", "Dangerously Well" and "Negative Reinforcement".
Master of the absurd and mind-shreddingly complex, Aaron Funk is back following his My Love Is A Bulldozer album for Planet Mu back in 2014. Considering how prolific he has been at times, this has been a recent quiet patch but the glorious racket of "Your Face When I Finally" puts paid to the peace with a fine display of the infinitesimal production style he made his name on. From lopsided time signatures and bewitching melodies to disgusting splats of noise and puerile sampling, noone manages to chuck everything in the pot with the same panache as Venetian Snares. There are calm moments, focused moments and utterly insane moments, representing a fine example of everything the sonic madman stands for.
Phoebe Guillemot hails from Vancouver, from where she has snuck out two prior cassette-based albums of wonderfully delirious leftfield electronic tinkerings that delight the mind as they get the toes tapping. From Los Discos Enfantasmes and Pygmy Animals she now graduates to 1080p with a further eleven excursions into lush, vibrant soundscapes steeped in the exotic and earthly and then blasted into the cosmos. From the scratchy bongos and fluttering jungle noises of "Princess Of Cups" to the slow echoing enchantment of "Etwal", the stylistic tropes flow like emerald gloop throughout Houti Kush and the fairy tale sonics don't let up once. It's an evocative and complete artistic vision that should switch many more listeners onto Guillemot's wondrous sound.
The sixth issue from Jealous God, and the first of what promises to be another year of intrigue for the label, pairs up visual director Juan Mendez with 51717, aka New York artist Lili Schulder. Any fans of Schulder's 51717 cassette for Opal Tapes or her Shadowlust collaboration with Svengalisghost will be excited by the prospect of some new music committed to wax and she's on wonderfully abstract form here. Listening to opening track "The Glove" is an experience similar to being slowly covered by a viscous liquid to the point of suffocation, with her barely audible spoken word delivery only adding to the sense of foreboding. Complementing this, 51717 provides two shorter but equally striking compositions with "Regard" especially chilling. It's a mood that seeps into the two Silent Servant productions with "Severed Union" ripe mixtape opener material.
Following on from the Par Avion album that surfaced on Ghostly last year, Xeno and Oaklander return to the scene of the crime with more towering pulses of synthesiser tone that peal out a kind of avant garde electro pop without the rhythm section. It's hugely atmospheric stuff that begins in more strung out, experimental territory as the tale unfolds over thirty continuous minutes, coalescing into heart-rending moments before melting away to a more obtuse kind of noise and back again. It's a piece that could have easily been broken down into component tracks, so distinct are the different phases of "Movements", but in the end this immersive start-to-finish listening experience is clearly what the tenacious duo were aiming for.
Drawn from her most recent album Vulnicura, Bjork has chosen to revisit "Lionsong" by bolstering it with additional vocal tones from the same choir that appeared on Biophilia, and then whacking an obscure old Untold cut underneath. "Flexible" originally appeared as a single-sided 12" back in 2009, and it brims with the madcap energy of early Untold beats, all woodblock percussion and scuffed found sound snippets. It's an unlikely partnership of sounds, but the legacy of Bjork's distinctive voice atop edgy electronics makes the whole wild cocktail go down smooth. Few would dare to think of the idea and few would pull it off, but Bjork has past form in such daring moves.