Review: Eagles & Butterflies has had plenty of notable tunes over the years. No doubt that is why he gets the nod from Gerd Jansen's legendary Running back label to offer up Retropolis Vol 01. It is a four-track EP that shows off the producer's well-realised sounds. The title track is the real standout - 'Retropolis' brings electro-styled synth work with brilliantly future retro euro-disco energy. It's packed with hints of Italo and is sure to light up any club scene. Says the producer of the EP, "Retropolis is the past meets the future. I love influences and technology from the past and making music that sounds like it could be from a time yet to arrive." Mission accomplished.
Review: Depeche Mode's standout album Violator (1989) produced the landmark song 'Personal Jesus', and with its catchy bluesy riff and innovative but rare use of guitar by the otherwise great synthpop act, the song would upend and expand at the edges of an already well-varied sound. With lyrics inspired by 'Elvis And Me' by Priscilla Presley, exploring themes of devotion and stardom, while the record's controversial promotions saw the band take out personal ads, as well as advertise a phone number through which fans could hear the song. Now Matt Early (aka. Funky Wogan and Hardbag), DJ, producer and remixer extraordinaire of Far Horizon and Sub London fame, lays down an ingenious edit backed by the original number on the flip. Limited numbers on this furtive output, so keep your shopping cart fingers poised...
Review: Newly signed to Ninja Tune, Ebbb debuts with a five-track EP that shows great intent. Emerging from the same London avant-garde live scene that birthed black midi and Black Country New Road, the band has quickly developed a unique sound in just a year. Their music blends pulsing rhythms, immersive electronic production, sparkling melodies, layered vocal harmonies, and beats that range from ambient to industrial. Described by the band themself as "Brian Wilson meets Death Grips," the EP is experimental and unpredictable yet deeply considered and precise with an idiosyncratic hybrid of sounds that showcases Ebbb's innovative and tightly crafted music.
Review: Elektronik Body Girl is the musical alter-ego of Shelbatra Jashari featuring production assistance from Brussels's soFa. The Belgo-Albanian postpunk pair cooked up sounds that accompany an imagined dystopian industrial wasteland with tons of improv and lots of raw, jagged rhythm. Dealing with the "empowering feminine" and its representation were key to the vision of Jashari as well as abrasive textures and stark atmospheres. Her vocals touch on her roots in Belgium and Kosovo from an outsider's position and label associate Toulouse Low Trax cooks up a brilliant beatdown mix to seal the deal.
Review: Swiss imprint Phantom Island specialises in the kind of atmospheric, slow-motion Balearica that looks far and wide for inspiration. Their latest EP, a collaboration between live electronic performer Tillman Ostendarp and singer/songwriter Gina Ete, naturally takes a similar approach. Title track 'Le Bouqet', for example, features subtle nods towards the more atmospheric material on Peter Gabriel's 1980s album 'So' with drowsy chords, ethereal electronics, clicking beats and the sweetest of vocals, while 'Tetra' is creepy, dark and atmospheric in the extreme, with live percussion catching the ear. Elsewhere, 'Nonchalant' is like trip-hop after a hit of opiates, 'Customer Care' is a wonky number with distorted vocals, ambient textures and West African percussion, and Fuga Ronto's remix of 'Le Bouquet' is a retro-futurist leftfield synth-pop gem with added dub delay.
Review: Milan duo Eternal Love made their debut last year on local imprint Polifonic's Itria Vol. 2 compilation and follow up here on Sydney's Planet Trip. Comprising of four tracks, the Altar EP features some Balearic rave inspired by the late '80s Ibiza sounds as heard on 'Flotamos', while the following cut 'Terra Trance' is as much a zeitgeist of that magical era with its loved-up vibe. Over on the flip, we really enjoyed the celestial and new-agey groove business of 'Geo Geo'.
Det Blaser En Vind Genom Varlden, Och Det Har Det Alltid Gjort (6:54)
Review: An experimental techno hexagram in LP form from Stockholm artist Evigt Morker. Without so much as a hint of context, the techno dark-shooter here drops his third LP for resident label Northern Electronics as a surprise, and the result is rather stunning. A bleary set of impressions, some tunes on this record clip the top edge of the mix, chinking our emotive armour. The effect is gastric, dehiscent, exuding bile: 'Hemilga Eldar' leaves us dumbstruck by its ambient eventidal winds and strangely sprawled drum shapes, while 'Sokaren Hittade' combines nyctophile cantos with electric twangs. The closer 'Det Blaser En Vind...' is a headland of humility, letting in much longer gusts of tuned air.
Review: Kihon Ido is a brand new Japan-based label whose name translates as 'Fundamental Movements' and we're told it is here to focus on timeless dance music by exploring foundational sounds across styles and eras. Its debut release from Extra delves into deep, hypnotic and textured techno from the off. 'Visigoth' is a sophisticated blend of atmospheric layers and smudged dub chords - it's music that transcends the dance floor trends while remaining immersive and evocative. The other cuts explore more smooth and loopy DJ Nobu style cuts with 'Full Circle' offering a more playful and light melodic sound.
Review: Eyes of the Amaryllis is a collective that announced its arrival with a debut self-titled album back in 2021 on cassette tape. A year later they landed on Horn of Plenty with a second album which came on vinyl, and now they offer up a first 45rpm in the form of 'Lunchtime On Earth' on Swedish label I Dischi Del Barone. All four tracks are decidedly short and to the point and sit somewhere between post-rock and experimental with elements of lo-fi, folk and world & country. It's the title track that stands out with its doleful guitars, plenty of echo and drifting, wordless vocal sounds making for a beautifully melancholic vibe.
Review: Double Consciousness is not just the name of the new collaborative album release between Oren Ambarchi and Eric Thielemans; it's also a term developed by revolutionary theorists such as Frantz Fanon and W.E.B. Du Bois to describe the cognitive dissonance/dual self-perception of oppressed groups in unjust, often colonial societies. With that in mind, we're not just going in blind here. A forty-minute, single-take epic album recorded live at the Werkplaats Walter theatre in Brussels, this is Ambarchi and Thielemans as we know them best, the former handling the guitar as usual, and the latter on drums and percussion. Many disparate movements ensue, the music seeming to represent the arc of psychic revelation; the roller-coaster ride of fulfilment; tyrants overthrown; and former double-consciousnesses unified.
Review: Oren Ambarchi and Eric Thielemans' latest collaboration emerges from a recorded performance in Poitiers, France, in November 2023, showcasing their extraordinary duo chemistry. The single continuous performance, spanning over 45 minutes, encapsulates their shared language and willingness to push boundaries, blending meditative calm with unexpected melodic and rhythmic moments. 'Kind Regards' (Beginning) opens with Thielemans' entrancing tom patterns, which provide a steady undercurrent for Ambarchi's guitar, transformed into swirling tones by a Leslie speaker. As the music unfolds, it moves between introspective calm and more forceful bursts of energy, with Ambarchi's guitar eventually taking on an electric organ-like quality, echoing the soulful depth of Alice Coltrane. Later, 'Kind Regards' (Conclusion) takes on a more jazz-oriented direction, as Thielemans' delicate rhythmic shifts showcase his mastery of accents and cymbal work. Ambarchi counters this with jittery delayed tones, and a more active use of his fretboard, weaving through dissonant harmonics before concluding with a massive, yet detailed, climax of distorted guitar and crashing cymbals. The performance, free from any flashy tricks or filler, draws power from the deep intuition between the two musicians, and their shared commitment to exploring the limits of their instruments.
Review: Last year, regular collaborators Ian Boddy (a Sunderland-based electronics wizard who founded the ambient-focused DiN imprint years ago) and Erik Wallo (a long-serving Norwegian guitarist primiarly known for his experimental and ambient releases) performed their first joint concert for a decade. It's that performance, where they jammed out extended and much-changed versions of tracks featured on some of their prior studio sets, which forms the basis of their latest full-length, Transmissions. As you'd expect, it's a wonderfully atmospheric and evocative affair that gets the most out of both artists, with highlights including the wonderfully creepy 'Uncharted', the krautrock-style hypnotism of 'Aboena', the icy and ethereal 'Ice Station' and the slow-burn bliss of 'Salvage'.
B-STOCK: Sleeve damaged but otherwise in excellent condition
Coil - "Protection" (6:53)
ELpH - "Glimpse" (3:30)
ELpH - "Crawling Spirit" (1:53)
ELpH - "PHILM #1 (Vox)" (9:14)
ELpH - "Static Electrician" (3:11)
ELpH - "Red Scratch" (3:19)
ELpH - "If It Wasn't Wolves, Then What Was It?" (2:56)
ELpH - "Static Electrician (Symphonic)" (4:52)
ELpH - "Track 9" (3:09)
ELpH - "Track 10" (1:26)
ELpH - "Track 11" (2:45)
ELpH - "Track 12" (10:46)
ELpH - "Track 13" (7:43)
ELpH - "Track 14" (2:57)
ELpH - "Track 15" (8:22)
ELpH - "Track 16" (9:11)
ELpH - "Gnomic Verses" (5:06)
ELpH - "Track 18" (11:21)
ELpH - "Track 19" (8:18)
Coil - "Glisten#2" (1:04)
ELpH - "Zwolf" (20:02)
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
This 30th-anniversary reissue of a key experimental release is a journey into the darker realms of electronic music, showcasing the duo's exploration of ambient, industrial and glitch-inspired soundscapes. The release features a stark contrast between the rhythmic, almost club-ready track, infused with danceable energy and the more experimental, glitch-heavy compositions that delve into an unsettling, ritualistic atmosphere. The latter, considered one of the duo's most daring works, uses manipulated sounds, haunting textures and a pervasive sense of sonic unease to create a deep listening piece. The reissue compiles rare material, including previously unreleased tracks, alongside the duo's final appearance under this project. Fans of avant-garde electronic music will appreciate the unique blend of rhythmic elements and abstract textures. While some may prefer later works from the duo, this collection remains a fascinating piece for those drawn to experimental, atmospheric music that pushes the boundaries of sound and composition.
B-STOCK: CD case damaged but otherwise in excellent condition
Review: ***B-STOCK: CD case damaged but otherwise in excellent condition***
Seven arresting, original new exercises from E-Saggila aka Canadian producer Rita Mikhael. She wears her love of dub on her sleeve - see the slow motion skank of 'Amnesiac' aming others - but not in the usual reassuring, bubbling echoes of dub techno, aiming for something much more angular and alarming. "Breaks remain staccato hammers," says the blurb, with maximum accuracy, "and kicks are cast to negate cardiac systems," while the rhythms veer from off kilter to nailed down and the sonics vary from the lush to the caustic. This territory to the left(field) of electronica is over saturated with identikit productions, but Mikhael does it like you've never quite heard before.
Review: Seven arresting, original new exercises from E-Saggila aka Canadian producer Rita Mikhael. She wears her love of dub on her sleeve - see the slow motion skank of 'Amnesiac' aming others - but not in the usual reassuring, bubbling echoes of dub techno, aiming for something much more angular and alarming. "Breaks remain staccato hammers," says the blurb, with maximum accuracy, "and kicks are cast to negate cardiac systems," while the rhythms veer from off kilter to nailed down and the sonics vary from the lush to the caustic. This territory to the left(field) of electronica is over saturated with identikit productions, but Mikhael does it like you've never quite heard before.
The E-Types - "Put The Clock Back On The Wall" (0:47)
Who's The Butcher? (1:39)
Thee Neons - "LSD Got A Hold On Me" (0:45)
Horny & Unclean (1:52)
She Must Be Square (1:54)
The Vagrants - "I Love, Love You (Yes I Do)" (0:50)
Let's Hear It For Al Capone (2:33)
The E-Types - "Untitled" (1:29)
Where's The Acid Kid? (1:22)
Bit' A Sweet - "Out Of Sight Out Of Mind" (2:46)
I Enjoyed The Band (2:59)
Bit’ A Sweet - "Is It On, Is It Off?" (0:50)
Susie's Trip Out (1:41)
The E-Types - "Put The Clock Back On The Wall" (instrumental version) (1:11)
Where It's Always Been At (0:54)
The E-Types - "Clock-apella" (Stereo) (1:54)
It Was A Dream (1:46)
The E-Types - "Put The Clock Back On The Wall" (reprise) (0:50)
Review: Originally scored in 1968 by a loose circle of New York garage-psych acts, this reissued soundtrack finally lifts the veil on one of the strangest period films of the late 60s. The E-Types lead the charge with no fewer than four versions of 'Put The Clock Back On The Wall', ranging from a bright, full-band cut to a warped instrumental and stereo acapella. The Bit' A Sweet contribute the hazy, lurching 'Is It On, Is It Off?'ia woozy gem full of phased guitar and tape wobbleiwhile 'LSD Got A Hold On Me' by Thee Neons dials up the paranoia with raw, fuzzed-out intensity. The Vagrants offer a tight, harmony-laced soul ballad in 'I Love, Love You (Yes I Do)', adding contrast to the acid-drenched proceedings. While the film itself, shot entirely in greyscale, veered closer to surreal documentary than narrative cinema, the music functions as a mood-setting anchor throughoutiequal parts camp, dread, and weird sunshine optimism. This marks the first official pressing of these tracks and serves as both a time capsule of New York's outsider rock fringe and a highly playable psyche compilation in its own right.
Review: Earth's live performance at KOKO in 2016 captures the Olympia-formed experimental drone crew's evolving sound in its most immersive form. The trioiDylan Carlson, Jodie Cox and Adrienne Davisioffers a slow-burn journey through layers of doom, drone and minimalist textures that feel as weighty as they do precise. The set begins with a familiar depth, the reverberating basslines and crushing guitar tones building a space of deliberate tension. Tracks like 'Bees Made Honey In The Lion's Skull' unfurl with a vast and spatial quality, while 'Even Hell Has Its Heroes' crawls along in thick, oppressive layers. What's striking is the restraint: Earth never rushes; each note, each pause, is deliberate, serving as a meditation on the slow, heavy force of sound. The minimalist approach feels almost tactile in its quiet moments, as if the silence itself is as profound as the noise. This live offering underlines their mastery of creating music that moves beyond noise, into a deeper exploration of space, sound, and feeling.
B-STOCK: Sleeve damaged but otherwise in excellent condition
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
You should never assume too much when it comes to Eartheater. Powders on Mad Decent and finds the maverick modernist at her most vulnerable and exposed. Where she's so often warped and manipulated her voice as part of her hyper pop experimentation, here she comes through in strikingly direct terms whether soaring over elegant threads of synthesis (on gorgeous opener 'Sugarcane Switch') or covering System of a Down's 'Chop Suey' in fragile, acoustic fashion. Even after so many albums, it feels like we're still in the process of understanding the many dimensions of the Eartheater creative universe, and here is but one new galaxy to explore.
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