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Baltimore’s Matt Papich is an established member of the international experimental and noise music communities – he was formerly been a part of improvisational drone trio Ecstatic Sunshine and, more recently, he released an album with Max D on PAN under the name Lifted. But it’s his solo work as Co La that Papich’s music has been at its most exciting and freeform. Since 2011, Papich has put out a series of cassettes, LPs, and mini-albums for labels like NNA Tapes and Hands In The Dark, which culminated in the release of the album Moody Coup through the Software label (run by Daniel Lopatin aka Oneohtrix Point Never) in 2013. Co La is now issuing his second album for Software, No No. No No manages to be ecstatic but absurd, creepy but cute, and obscure but accessible – usually all at the same time. Papich takes a mixture of hyper-clean sounds, including both synthesized noises and field recordings, and transplants them onto bouncing, energetic club rhythms. Every sound has a recognisable material property in the real world (bubbles popping, doors squeaking, babies crying, etc.), but they’re utilised in unfamiliar and unconventional ways. Everything is layered relentlessly, piling up like unread stories on a news feed; often, these sounds threaten to overwhelm the listener (as on ‘Gush’, which is full of Felicita-esque cut-ups of chattering voices). But more often than not it’s totally clean and direct, with tracks like ‘Crank’ (best described as a dancehall banger that’s in the process of melting) making up some of the more immediate and visceral material on the album. A weird, wild, and totally unique record.
All vinyl orders include Edge Harmonics CD.
"This is essentially a redacted version of No No - I removed as many rhythmic and melodic sounds as possible...it leaves an impression of the record, a kind of a relief. The process was a hegemony of delete, so what's left is detailed, but very incomplete." Co La
UK duo Darkstar return with their third album Foam Island, released by Warp Records. While their last album (2013’s News From Nowhere) dealt in tripped out, pastoral psychedelia, Foam Island sees Darkstar return to a more beat-driven style of electronic production that often recalls their early 12”s for labels like Hyperdub. It’s an expansive, cinematic album, where everything from the minimalism of Philip Glass, the carefree leftfield pop of Micachu, and the raw grime rhythms of Dexplicit are channeled into the duo’s sublime vocal songcraft. Interspersed throughout the album are interviews conducted by the band in West Yorkshire, expressing the political disenfranchisement amongst the area’s youth.
The album is released in the UK on 25th September and a week later in all other territories.
Two greats of neoclassical music team up for their third collaborative EP. Recorded using two vintage synthesizers over a five-day period at Nils Frahm’s studio in Berlin, Loon was recorded and mixed live, straight to tape, and is imbued with a sense of warmth and nostalgia. Loon acts as a continuation of the ambient sound heard on their last collaboration, the Stare EP in 2012, but introduces new elements of dub into the mix, inspired by Frahm’s blurry memories of attending Goa trance raves when he was a youngster.
Hotly anticipated new EP on Warp from American R&B chanteuse Kelela which makes good on that staggering early potential of her work on Night Slugs / Fade To Mind and Teengirl Fantasy. If the last year has been Twigs’ this record surely marks the next 365 as Kelela’s to crossover and speed through the interzone of mutable R&B / Chart Pop / Grime success. There are BIG, powerful, hooks here underpinned by some next-gen, hyper-sensual studio moves. Massive.
Creating a maze-like world of soft instrumentation with a delicate pop sensibility, Julia Holter's fourth album proper Have You In My Wilderness is possibly the most realized view of her multi-instrumentation lead compositions yet. Having released various mini albums-of-sort and singles on a vast array of labels including Human Ear Music and NNA Tapes between 2006 until 2010 it wasn't until 2011 that she really broke through into the underground with her startlingly original debut album of ambient pop Tragedy for Leaving Records. This was shortly followed up with the break taking Ekstasis on Rvng Intl. which was shortly signed and reissued by Domino and lead to her Loud City Song LP last year. This all leads us up to Have You In My Wilderness which builds on the experimental characteristics of previous works but from the start of album opener Feel You showcases a more open and polished sound. The drums sound crisper and the space between each instrument; where previously was dusted over to gel together (in no bad way at all by), is more spaciously aware with each note hanging in the air with delicate ease. The ten tracks on show are finely crafted sculptures of pop-rooted, almost classical composition and each one a different window into the same world created within the album's length. How Long? is a string laden piece of soundtrack sorrow while Silhouette is a confident, jangly number in the finest traditions of self aware pop while live favourite Sea Calls Me Home gets a loving update with a fresh production job that breaths new life into the piece. Have You In My Wilderness has the power to both have you lounge in its quite sometime sadness but also yield the power to rejoice in the transcendent up lifting quality of its heart felt beauty, a truly unique recording from a truly unique artist.