Straight out the gate and into 2016 is Trade And Distribution Almanac Volume Five, the latest in the ADAADAT label’s on-going series of compilations exploring the fringes of contemporary experimental electronic music. And just look which contemporary experimental fringe-bothering duo have been chosen to kick the proceedings! You can hear Howlround’s contribution, exclusive new track ‘Bush Fountains VIP’ by clicking here. The opening track on the compilation, it features a sample of a drinking fountain recorded in Bush House that somehow managed to get left out of the Ghosts Of Bush sessions.
Must say I’m very pleased to have been asked to contribute as releasing something on ADAADAT has been on my bucket list for the best part of a decade, thanks to it’s long and distinguished catalogue that also includes chip-tune gabba classicism from the mighty DJ Scotch Egg, splattery hardcore from Germlin and pretty much everything else from the criminally-overlooked Hungarian Surf-rock duo Agaskodo Teliverek (seriously, watch the video). Still alive and well today, ADAADAT’s latest release features twenty solid tracks of contemporary experimental electronics by the likes of Rutger Hauser, oMMM, Atom Truck and label head Romvelope. What’s not to like? Thanks to Mr. Bjørn Hatleskog for masterminding this one. We owe you a shandy!
In other new release news, goodly egg and fellow Radiophonicist Matt Saunders formerly of 4AD darlings Magnétophone is all set to launch the latest album from his Assembled Minds alias. Creaking Haze And Other Rave Ghosts is the inaugural release on Patterned Air Recordings and has received airplay from Gideon Coe and Tom Ravenscroft on 6Music and the nod of approval from Simon Reynolds and Wyrd Britain amongst others – and deservedly so, it’s a fine piece of work. I was very pleased recently to receive a CD in the post, which arrived in the most splendidly elaborate packaging, with lots of inserts, sleeve-notes and a nice leather cord to keep it all in place. It also contained a press release, which, as has become something of a tradition, I feel moved to quote from at length, rather than come up with any fresh ideas of my own. It’s been a rather long day, you see:
This is an album that almost doesn’t exist. It’s a cloud of old memories, a collective remembrance-pool of distant Saturday nights out, rave-fields, night-clubs, dancing getting intimidated, getting high, feeling the love of the tribe but always looking over your shoulder for some dark threat or other (and best not to mention the bad trips).
Creaking Haze is foggy, hauntological techno; a strange mix of British suspense/horror film tension and euphorically happy-beat-cycling. Listen closely and you’ll hear rust-flakes from the eerier moments of Tubular Bells, broken pistons from a flipped Detroit techno juggernaut, even flickery moon-bell-echoes of Morris jigs and baton clashes. It’s a wyrd electronic album of rural myth and country-fear and it’s flipside, city-rites and night bus anxiety…
Can’t argue with any of that, can you? Though I must say, having read both press release and sleeve-notes before listening, I was fully expecting it to be a rather gloomy and fragile ‘Death Of Rave’-style affair, like the work of occasional collaborator Farmer Glitch’s erstwhile Hacker Farm, Leyland Kirby or even one of Burial’s slightly less polished efforts. And while there is nothing wrong with any of that in the slightest, this album is actually a more rousing effort, mixing its fuggy and spectral electronics with liberal dollops of house and techno and pushing up the tempos steadily as the album progresses. Either way, it’s been on solid rotation for the last few weeks here at Fog Towers, particularly in the mornings, when I take it with coffee whilst trying to prepare myself for the day’s first coherent thought. Early contender for album of the year? Quite possibly…
Buy it here and check out the Patterned Air’s website here. The label claims to fall in the sweet spot between ‘early electronics, old techno, classroom composition, sleep music, general eeriness and weird things’, which I’m guessing will tick an awful lot of boxes for you as well. One to watch, I shouldn’t wonder, especially as there is said to be a collaborative work between members of Coil and Mount Vernon in the works. Now THAT should be interesting!
A big thank you to Mr. Louis Pattison for a jolly nice review in this month’s edition of The Wire. Unfortunately, those hoping to get their hands on the last of the Vinyl will find it too late to be of much practical assistance as it is now officially all sold out, once and for all. Ghost Box took the last fifteen and they sold out in about five minutes. Hopefully the fact that the digital copy is still available here and will be for the foreseeable future is of some consolation. The Wire is, of course, widely available from all good Newsagents (and some bad ones too). It was also a very thoughtful of the magazine to choose the exact same font colour for their front cover as we used for ours. The marketing practically writes itself!