The celebrated techno triumvirate have revealed tantalising details of new multipurpose project Jealous God “intended for the mutants of our age”.
You have to wade through so much carefully orchestrated bullshit and content driven waste dressed up as music that it’s refreshing to come across a band whose ambitions seem a whole lot purer than striving to become the latest bit of sync bait. The KVB are one such band; the vehicle of the wonderfully named Klaus Von Barrel and synth player Kat Day, the KVB exist to put out records and play gigs and they do both of these functions with consummate ease.
The most striking characteristic about Downwards output over the last twenty years of transmissions is its reluctance to wither and dissolve into a nostalgic trophy of the ever-romanticised ’90s golden days. Instead of solely opting for a continuous drool of reissues and represses, Karl O’Connor’s imprint, or rather, ‘institution’ as it is now resembling, is still vividly pursuing that unfathomable dream for the most sporadic and decadent interferences attainable through sound.
Acquaint yourselves with new Downwards signees OAKE on this video for their haunting track “Left Already”. Read the rest of this entry »
The Regis-helmed Downwards imprint have announced further details of the label debut from Horizontal Ground producer Samuel Kerridge.
The Los Angeles based duo DVA DAMAS will release their debut album Nightshade on the newly launched Downwards America next month.
The best compilations act as gateways into a world of music unknown to the listener, perhaps encouraged to investigate thanks to one stray familiar name or some eye-catching artwork. It’s possible that the art of a finely curated compilation might be in danger of being lost on a current generation brought up on the endless musical possibilities of the mix and match download culture, though 2012 showed that there are still plenty of labels willing to invest the time and knowledge neccesary.
Our list of the top ten compilations looks to capture that, drawing on a selection of established labels celebrated for their ongoing efforts in the realm alongside imprint who’ve made impressive fresh steps in this direction, with an overall diversity of musical styles that hopefully reflects our own divergent tastes. It should also be noted that the drastic decline in quality of commercially released mix CDs, no doubt caused by the over abundance of online podcasts and mixes, reached a tipping point whereby we decided to leave the format out of this year’s “best of” coverage.
Following the sonically challenging Remixed EP that surfaced last month, full details of Russell Haswell’s previously disclosed album for Downwards have arrived.
Of all the former Sandwell District members, Karl O’Connor has been the most prolific since the label closed last year. Having put out a triple CD of his old work and most recently, the So Click Heels compilation, he now delves back into his past as Regis for this truncated collection of tracks that were an integral part of his live set.
Talk about a reinvention. Karl O’Connor has travelled a long artistic road over the past decade. From dense and grainy techno as Regis, through the hypnotic, monochrome grooves of Sandwell District – not forgetting the dense, broken beat loops of Kalon and Ugandan Speed Trials – to the murky electronics of Sandra Electronics, it’s been quite a ride.
Iconic Midlands imprint Downwards have announced a forthcoming album from multi disciplinary artist Russell Haswell, with the 10 track LP preceded by a remix 12″ featuring William Bennett, Kevin Drumm and label boss Regis.
The Downwards label run by Karl O’Connor is preparing to release So Click Heels, a CD compilation of artists that have featured on the label’s highly prized DO series.
Explaining why Regis and his music exist is a difficult one. A pop psychologist could point to his surroundings, the concrete mazes of Birmingham, as being pivotal in shaping his relentless, unfliching vision for techno in the same way that the decaying Detroit cityscapes informed the first wave in the US. Equally, it is also possible to posit that O’Connor is merely following in a long line of UK pop, punk and industrial situationists who were unwilling to just make and release music and who wanted to leave something more meaningful in their wake.