Review: Given the distinctive quality of his heavily electronic, mind-soothing fusions of deep house, dub techno and sprightly electronica, any new album from Shinichi Atobe is good news. It's especially welcome when it's the first full-length he's released in two years, as is the case with the immaculate "Yes". Melodious, life-affirming and lusciously otherworldly, it sees the Japanese producer drift between off-world dub-house (the superbly spaced-out "Lake 2"), jazzy electronic house bliss ("Yes"), percussive deep space dancefloor soundscapes (the layered drums, twinkling pianos and futuristic synth sounds of "Lake 3"), and the kind of echoing, hard-to-pigeonhole headiness that defies easy categorization ("Rain 3"). In a word: superb.
Review: The UK's Mica Levi is back on our charts and much like last time, we expect these five glorious slices of drone-laden experimentation to fly out of here in record time. The supremely off-kilter waves of this new EP land on Demdike Stare's DDS imprint, now something of an institution for the odder side of electronica, and they couldn't be better placed anywhere else. That said, the noisy ambient glows of "Delete Beach (Japanese)", and the sparse, aqueous drum machine loops of "Interlude 1" are perhaps a step further out into the ether compared to the label's usual bag of tricks. Then the instrumental cut of "Delete Beach" morphs and develops beautifully for the entirety of the waxplate while, "Interlude 2" catapults us into a world made up of sporadic pianos and Vengelian synths, leaving the English version of "Delete Beach".
Review: The UK's Mica Levi is back on our charts and much like last time, we expect these five glorious slices of drone-laden experimentation to fly out of here in record time. The supremely off-kilter waves of this new EP land on Demdike Stare's DDS imprint, now something of an institution for the odder side of electronica, and they couldn't be better placed anywhere else. That said, the noisy ambient glows of "Delete Beach (Japanese)", and the sparse, aqueous drum machine loops of "Interlude 1" are perhaps a step further out into the ether compared to the label's usual bag of tricks. Then the instrumental cut of "Delete Beach" morphs and develops beautifully for the entirety of the waxplate while, "Interlude 2" catapults us into a world made up of sporadic pianos and Vengelian synths, leaving the English version of "Delete Beach".
Congo Get Slap (Mark Ernestus remix) - (7:10) 90 BPM
Flagged Up (Mark Ernestus remix) - (9:36) 68 BPM
Review: The DDS label, short for Distort Decay Sustain, has given artists like Demdike Stare a platform on which to express themselves through over the years, but it was really Equiknoxx's LP from 2016, Bird Sound Power, which opened their doors to a whole new category of listener. In fact, it was that LP, with all its stunning, dub-wise experimentation, which has led to Mark Ernestus being called up for a pair of remixes. As you probably know, this is a rare case, so this 12" is sort of a special piece - "Congo Get Slap" is given the pure Ernestus rundown, with a charging, minimalistic percussion being swallowed whole by the raucous dub stabs caving in from all angles; the remix of "Flagged Up" is a much slower, more brooding affair in the same vein as the mythical cuts residing on imprints like Basic Channel and Chain Reaction - nothing but deep, meditative dub flexing for the mind. BIG!
Review: Jamaica's Equiknoxx have spent the last decade re-inventing dancehall for the 21st century, delivering a swathe of releases that look further afield than Kingston for inspiration. Bird Sound Power is, somewhat surprisingly, their first appearance on vinyl, and sees them pop up on Demdike Stare's experimentally-minded DDS imprint. Featuring a mix of brand new cuts and previously released - but largely unknown - jams, it's a set that impresses with both its' rhythmic dexterity, and its' obvious inventiveness. Their 'riddims' veer from the punchy and rolling to the weird and out-there, with cute electronic flourishes, IDM influences, ambient chords and trill birdsong all adding to the humid, thrill-a-minute mood.
Review: Recorded between 1979 and 1983, Orior's visionary ambient music never really made it onto the big stage. But, if you think about it, this is more than normal given exactly how far ahead this stuff was compared to everything else back then. I mean, seriously, even the opener "Larbico" is just as fresh and provocative as any of the abstract electronic music coming out today through labels like Touch, Editions Mego or Spectrum Spools. There's a gorgeous lo-fi feel in the grainy, cavernous air created by Jeff Sharp's languishing drones, and we are just simply amazed at how far-out this is, and how long ago it was made. The real stunner is "Earth Rhythm", though, a mechanic drum machine cut with a gorgeous blend of baselines and tropical melancholia. This is LP of the week for us; A totally killer and unmissable reissue!! Oh, and this is out courtesy of the Demdike Stare massive - digital album of the week from us!
Review: Micachu's arrival on Demdike Stare's DDS label in late 2014 with the sublime ridiculous and indescribable mixtape Feeling Romantic Feeling Tropical Feeling Ill was something of a surprise. However this feeling was swiftly replaced with a sense of gratitude as the music within was quite special indeed! The UK pop savant and decorated composer makes her way back to DDS with something of a more traditional release, a fine seven track 12" called Taz & May Vids. Mica Levi's towering talent for skewed electronic music brushed with a charming pop sensiblity remains unwavering here with three of the tracks included featuring regular Michachu collaborator Tirzah (remember their ace "I'm Not Dancing"!). The Demdike lads round the 12" with a live one take edit of "I Dare You" which adds yet more mania to the mix. Great stuff!
Review: Robert Aiki Aubrey Lowe, or simply Rob Lowe under some of his releases, is a talented man, indeed. His jams have taken him to labels like Thrill Jockey, Type, and even Rvng Intl., but this week he pops up on DDS - or Distort Decay Sustain if you're averse to brevity - home to the talents of Demdike Stare, Shackleton, and Stephen O'Malley, of all people! "Cognition (Forbes)" is pure magic from the start; the tune flutters and bleeps away sporadically, but is held together by a thick layer of bass, and a very fine slice of percussion...true cognitive dissonance, in fact. The flip "Observation (Sophrons)", develops and mutates the same train of thought, except the air is murkier here, more dubwise, and that little bit more sinister. Beautiful.
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