Review: The ever reliable Ghost Box imprint continues its Study Series by inviting New York newcomer Listening Center to deliver some warbling analogue goodness steeped in the kind of library music styles that the label can often be found reaching for. "Titoli" is a cutesy number with a Jean Jacques-Perry joie de vivre in its bubbling synths, while the vocal oohs and aahs bring to mind the finest '70s lounge styles. Pye Corner Audio takes up remix duties with a version of "Town Of Tomorrow Today" that lurches into gear slowly, letting abstract noodlings and dubby chords give way to a non-committal 4/4 thud that gracefully builds into a soaring slow-house epic caked in satisfying sonic murk.
Review: Brighton collective The Outer Church took an impressive first step into the waters of label ownership last year, teaming up with Front & Follow for a wondrous double disc compilation featuring the likes of Pye Corner Audio, VHS Head, Ekoplekz and Some Truths. They collaborate once more, focusing specifically on the intoxicating, sumptuous sound of Pye Corner Audio for this release, which features an extended edit of "Black Mist", The Head Technician's contribution to that compilation. "Black Mist" is all the more impressive in extended format with its rough around the edges, acid-soaked kosmiche sounding even more hypnotic. It's complemented by a rare, haunting remix from Old Apparatus and the calming, undulating stylings of all-new PCA jam "Bulk Erase".
Review: With his Black Mill Tapes series sewn up, Pye Corner Audio makes the move to soundtrack specialists Death Waltz as they continue to embrace original material alongside their movie reissue modus operandi. Anyone familiar with either label or artist will be on familiar ground here, as Martin Jenkins lays the warbling 80s bombast on good and thick, albeit with a little more extrovert tendencies in the bright and bold melodies compared to the spooky subtleties of some of the other PCA material. "Stars Shine Like Eyes" reaches a dizzying climax of searing lead lines, while "Quasar II" revels in melancholic arpeggios made for the heartbreak ball in the future of thirty years ago.
Review: With the Black Mill Tapes series seemingly on pause, Martin Jenkins' primary project is delving into a more scattered run of releases, which has included an excellent single on the new Originals arm of Death Waltz. For Other Voices 05, he's bringing the hauntological sound of Pye Corner Audio back to Ghost Box, which is a natural home for his spooky musings. Both tracks on this single showcase the fuller, beat-driven sound that has been emerging from Jenkins' studio lately, albeit still firmly entrenched in the nostalgic processes that have always made him such an intriguing proposition.
Review: The Ecstatic label run by Walls pair Sam Willis and Ale Natalizia has really stepped it up this year in terms of scope and intrigue. Both the Daphne Oram reworks and the long form sonic decay from The Field producer Axel Wilner as HANDS suggests a label is happy to remain driven by the esoteric interests of its founders. This latest release is another conceptual curveball which finds Natalizia teaming up with Pye Corner Audio for Intercepts, a split album themed around notions of espionage. Regardless of how much you invest in the conceptual motivations of both artists, fans of Pye Corner Audio and Not Waving are spoilt musically with the latter's side proving particularly dreamlike and intoxicating - "Protect The Revolution" is a notable highlight.
Review: The latest release from the excellent Public Information sees them return to the works of early electronic pioneer F.C. Judd with a selection of remixes from some well chosen contemporary artists. Originally the subject of a retrospective release from Public Information early in 2012 entitled Electronics Without Tears, F.C. Judd was an under-appreciated figure of early electronic music who experimented with oscillators, filters and amplifiers, alongside his own self-built electro-mechanical drum machine and experimental synthesiser, primarily during the 1950s and 60s. Interpretations On F.C. Judd is the result of the label haven given all artists involved access to Judd's entire archive of sounds, tone experiments, field recordings and lectures, and left them to "produce an audio artefact befitting of Judd himself". RVNG artist Holly Herndon, techno veteran Perc, Bandshell, Karen Gwyer, Ekoplekz and Throbbing Gristle's Chris Carter all contribute to an engaging collection of works.