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LTO – No Pasa Nada EP

Injazero

LTO - No Pasa Nada EPA member of both Khing Kang King and Old Apparatus, No Pasa Nada is LTO‘s second solo outing of haunted dubscape electronica. The EP shifts slowly and recursively across four tracks of gritty textures washed languidly in a bath of tape-hiss, echo and reverb, feedback and all (with the occasional environmental recording of rustling clothing or running water dropped into the mix for good measure).

Operating somewhere in the vicinity of the dubbier end of minimalist dubstep without ever falling squarely into the genre — or any other for that matter — though LTO’s sensibilities are definitely of a kind related more to the feeling that dubstep had when it first emerged rather than in the recent ravetastic commercial bastardisations of

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Protection – The 10″ EP

Formlessness Press

Protection - The 10" EPRemember the ’90s? Well, I only vaguely do. But ignore all that Britpop/Cool Britannia shit, as nationally embarrassing in the cold light of day as Diana’s funeral, and think in a more esoteric direction. Think of Coil‘s classic album Love’s Secret Domain, and the fucked-up techno they were doing back then. Do you remember? Protection certainly do, being a synth duo one half of which has worked with both Coil and Cyclobe in the past. And while they both take a turn providing vocals (although there’s also a special guest, about whom more later) the ghost of Jhonn Balance is never far away. But this is no slavish copyist bollocks; they’ve taken that vaguely-defined, liminal sound and run with it,

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Niels Lyhne Løkkegaard – Sound X Sound: Music for 8 Recorders

Hiatus

Niels Lyhne Løkkegaard – Sound X Sound Music for 8 RecordersThe first in the Sound X Sound series of 7″ singles which will each explore just one instrument, Music for 8 Recorders finds Niels Lyhne Løkkegaard‘s compositions tackling the alto and soprano varieties on each side of the record. On the evidence of the first disc, the rest of the Sound X Sound series should be well worth following, not least to discover how much Løkkegaard can push the limits of each instrument as intriguingly as he has done here with one as unassuming as the humble recorder.

The recorder (or blokfløjter in Løkkegaard’s native Danish) has long suffered an association with endless childhood lessons on the instrument, seen as it is (in Britain at least) as

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Eleanora – EP

Consouling Sounds

Eleanora – EPTwo tracks; fifteen minutes of fearsome post-hardcore grunt, groan, riff and thrash from Eleanora splashes out of the speakers as if the very devil was grinding out the best tunes behind them, goading the band into producing yet more screamed crescendos.

Tight as the screws which surely must be holding down the drummer’s kit in case it should get beaten off the stage, “Mammon” shifts gears and swerves with the erratic control of a rally driver careering headlong into an ice-storm while their co-pilot yells out a constant stream of incoherent rage at the all-encompassing elements rather than anything resembling useful directions.

“Amenable” starts off in just that fashion, a pleasant churn of guitar soon joined by a frying-pan bass sprawl until the doomy whole coalesces into a dirgesome trudge

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Hacker Farm – 12,000 Seconds/Ashley Paul – 12,000 Seconds

Magic + Dreams

12,000 SecondsOf Human Bondage; salvation through restriction. An intriguing premise, where all the artists in the series were given not just the limitation of time per se but the ultra-specific requirement of actual track times (0:06, 0:23, 1:11, 2:37, 3:03, 3:14, 4:20 and 6:06) to conform to. It doesn’t matter if the actual mathematics is wrong, that it’s 60 seconds over. The extra minute seems necessary.

While Ashley Paul and Hacker Farm don’t appear aligned, this isn’t the first time they’ve appeared together; I saw them both at Salvage: A Hacker Farm Field Trip and there’s textural similarities if you listen closely enough. True, Ashley Paul’s music is more unfolded and sparse than Hacker Farm but they are both brittle commodities, prone to falling apart if you stop paying attention. Paul’s music

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Now – Innard Listeningestion

mottomotto

Now - Innard ListeningestionThere’s a certain mild krautishness nurturing in those Kinder Egg diode flashes, a light-hearted flush of danceability that’s swimming in the real and the synthetic in equal amounts. Oddly punctured textures and filtered sequins that seem to bubble-burst plenty of satisfied grins, a childlike tinkering perfectly matching the lurid orange vinyl and crayoned graphics of its package.

Innard Listeningestion by Now

“Innards” starts the ball rolling, its super-cute measures amok with squelching Paddington Bear galoshes bouncing off cling film-coated puddles. A curl-e-whirling of vocals, light and airly remainders to a tinselated rhythmic goodness, popsicles dream-feeding soft cushioned contours and jangling xylo-tonics of a catchy number that’ll haunt you with its fancy footwork. “Listening Forward To It” adds an increase in tempo, the beat toothpasted

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Ekoplekz – Influkz EP

More Than Human

Ekoplekz - Influkz EPBoard a hovercraft to ride the autobahn of yr dreams on this lovely fissure from Ekoplekz, via the good sonic alchemists at More Than Human Records.

2014 has been a big year for Bristol’s Nick Edwards, following two of his highest-profile — and highest production value — releases on the braindance juggernaut Planet Mu. Mike Paradinas, AKA µ-Ziq, worked head-to-head with Edwards in sequencing the material, then presenting the material with a nice lustrous sheen of a mastering job and coating each in saliva-inducing artwork. It was Ekoplekz at his glossiest and most accessible, although the sounds in the grooves were still signature.

On the Influkz EP it seems that Ekoplekz is getting back to his roots; back to the

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K-X-P – The History Of Techno

Öm

K-X-P - The History Of TechnoIt may seem ambitious to propose a histoy of techno in only four parts on one 12” single, but if there’s anyone who can do so, it’ll be the two drummers, bassist and one-man soul sonic force of K-X-P — Timo Kaukolampi (of Op:l Bastards), Tomi Lepannen (also of Circle and Pharaoh Overlord, among many others), Tuomo Puranen, also of of Op:l Bastards, and Anssi Nykänen. K-X-P are Finland’s première exponents of the current wave of drummers mixing up with synthesists (see also Zombie Zombie, Gum Takes Tooth, Temperatures and Jakob Skøtt for starters) taking trance music to some pretty far-out, analogue-worshipping places; and their dedication to the endless groove, the timeless Öm (which they reflect in the name of

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Franck Vigroux – Centaure

Cosmo Rhythmatic

Franck Vigroux – CentaureWith “2024” blasting straight down to business like Pan Sonic at their grittiest and crunchiest, Centaure finds Franck Vigroux a very long way away from his guitar extrapolations and explorations (such as the recently-released Ciment). Instead, he’s got electronic beats to flay and some serious noise to bring on three tracks and a remix which will effectively sandpaper any soundsystem they grace and most likely render any nearby dancefloors well and truly scourged, quite probably in a biblical sense.

“Vesuve” could easily give Atari Teenage Riot some aggro, though as it’s (brutally) instrumental, the nihilistic attitude can be content to be implied and delivered through the force of the chunky rhythms rather than needing to be screamed in situationist slogans,

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Moss – Carmilla / Spectral Visions

Stone Tapes

Moss - Carmilla/Spectral VisionsThe Dark Is Rising

When it comes to art that is inspired by the horror genre, it can fall into two camps:

1. Art that references horror tropes and classic works of that genre, or. 2. Art that seeks to recreate the sensation of watching, reading, or listening to those works.

With Carmilla (Marcilla)/Spectral Visions, from purveyors of classic British doom, Moss, the band goes more for the former, setting classic Gothic Victoriana to crushing, distorted guitar riffs and monolithic drumming. If Moss’ masterpiece Cthonic Rites was the sound of crawling through a darkened thicket to arrive at some blasted hilltop surrounded by sacrificial megaliths, this EP might be seen as a filmic version of the same events. While it might not be

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Ekoplekz – Rock La Bibliotek

West Norwood Cassette Library

Ekoplekz - Rock La BibliotekFollowing his recent albums Four Track Mind and Unfidelity, Ekoplekz has now released a six-track EP on the wonderfully-monikered West Norwood Cassette Library label. Rock La Bibliotek is in a different format and has a totally different vibe. On it he offers up a more minimalist sound, and while the richer radiophonic aspects of the albums has been put to one side, with some distinctly retro sounding bleeps and squelches, the Ekoplekz approach to production still renders tracks that are dripping with atmosphere.

At times quite dark, the collection also reaches into psychedelic territory through layered, progressive trancey episodes and some contorted dissonance. However, in throwing the more conventional sound palette out the window, Nick Edwards has nonetheless

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Purson – In The Meantime EP

Machine Elf

Purson – In The MeantimeIt’s 1967, The Beatles are No 2 in the charts with “Strawberry Fields,” Pink Floyd are playing The UFO Club, The Incredible String Band are discovering layers of the onion and Hapsash are designing posters to blow your mind. Fast forward 20 years and you have the Alice in Wonderland Club, The Dukes of Stratosphere, The Magic Mushroom Band and Freakbeat magazine. Now in 2014, yet another new wave of psychedelia has been making its way back into the underground clubs and venues for the last couple of years. One of the best bands to get the psychedelic/progressive tag is Purson and this new EP (OK, in my day a four track disc was called an EP) or mini-album shows

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Radio 9 – Learn to Walk Through Walls EP

White Label Music

Radio 9 - Learn to Walk Through WallsLike the former colonel of the First Earth Battalion, Jim Channon, whom Jon Ronson encountered in the story he recounted in The Men Who Stare At Goats, Radio 9 are apparently encouraging their charges – their listeners – to embark on a mission to achieve the impossible, and walk through the walls; though maybe via the more simple expedient of metaphysically opening up the doors of perception rather than shifting their molecules into different arrangements.

This seems to be the case on “A Futuristic Journey by Car,” where Leon Muraglia sings of “endless streams of light” (the title of Radio 9’s recent album) and “moving without sound” in wasted wastrel style over rhythms lifted straight from the

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Pye Corner Audio – The Black Mist EP

Front & Follow

Pye Corner Audio - The Black Mist EPMartin Jenkins is a force of nature, releasing mountains of cassettes, EPs, 12″s, and free downloads since the inception of the Pye Corner Audio Transcription Services moniker in 2010. He’s the closest thing we have to a poster boy for the current state of the hauntological current, giving us an insight into its present, and a possible trajectory for the future.

This slight EP from Front & Follow is an elaboration on PCA’s track for their much-lauded The Outer Church compilation, which could be seen as a hauntological state-of-the-union address. For those that missed that essential transmission, here’s a chance to hear your favorite technician’s contribution in an elaborated form, packed with two essential addendums, the

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Gum Takes Tooth – Buried Fires

Endtyme

Gum Takes Tooth - Buried FiresBlending shimmery blurs of electronics with West African-derived polyrhythmic loops and swerves, this taster from the forthcoming album from drum-loving noiseniks Gum Takes Tooth shimmies and shakes with a deftly-assured sway, ripples of synth and coasting vocal drones layered sparsely over and around the hypnotically-intertwining beats. If this is anything to judge by, then Mirrors Fold should be quite the LP to both satisfy the body and befuddle the brain.

It’s also no great surprise to find that singular exponent of harsh industrial grind turned rhythm enthusiast Cut Hands remixing the track on the the flipside of the 7″ vinyl either. Here, William Bennett applies his own particular brand of faux-Afro-futurism to the track, drawing out booming bass and

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