2006 PROJECTS

2006

This is múm¹s only ever Peel session, recorded at Maida Vale Studios in 2002 for BBC Radio One¹s infamous, revered, and fondly remembered John Peel show. The 4 tracks here are significantly different versions of songs that will be familiar to fans, yet fresh enough to warrant a widespread release of what amounts to a batch of stand-alone recordings by a young band at a creative peak. Before their line-up changed, before others tried to copy their sound, before anyone from America ever went to the Airwaves Festival, this is a document of a time we hold dear to our hearts. This EP is a significant precursor to the bands new material, to be released Spring 07, in tone if not execution. The band are now an expansive collective, blurring the distinction between live band and electronica. All clean.

ZERO DB

BONGOS, BLEEPS & BASSLINES

2006

Since forming Zero dB 6 years ago, Chris Vogado and Neil Combstock have been concocting a provocative, innovative and addictive brew of hard jazz, electro, latin, hip hop and house, laced throughout with their now signature dirty, heavy basslines. After releasing their early records on Vogado¹s own Fluid Ounce label, Zero dB step it up with their debut LP, ³Bongos, Bleeps and Basslines². Their main starting point is usually jazz, but they dip into a multitude of different influences and work with talented musicians and vocalists to create a track. In contrast to the general climate of somewhat old, tired, formulaic and unmemorable dance music, zero dB¹s meticulous production forces their audiences to discover previously undeveloped musical places. Profanity trk4. otherwise clean. [Track indexing/timing quirk after track 5 - check start & end times.]

THE TWILIGHT SAD

2006

From the fog-drenched streets of Glasgow roar The Twilight Sad. This debut EP wraps us in blankets of guitars and flat-out good songwriting. James Graham (vocals), Andy MacFarlane (guitar/accordion/noise), Craig Orzel (bass) and Mark Devine (drums) initially added all sorts of different sounds to their first live shows in the early days - tape loops, theremins, saws, toy pianos. These days the walls of guitars have clearly taken over. With ancestry stemming from Mogwai and MBV, these songs are clearly more their own than any band we've heard in a good while. The EP was recorded by fellow FatCat artist Max Richter. Their debut LP hits in the new year. All clean.

ENSEMBLE

2006

Currently a citizen of Montréal but originally from Toulouse, France, Olivier Alary created Ensemble as his musical persona in 1998, as a platform to explore the meeting point between melodic noise and disjointed pop. Rephlex released his debut in 2000 ("Sketch Proposals"). Olivier develop a reputation for the stunning quality of his programming and sound-work which led to a number of writing collaborations with Bjork, along with several remixes of her work. His 2nd effort is a collaborative work of art, featuring the talents of Chan Marshall (Cat Power), Lou Barlow (Dinosaur Jr.) and UK-based Mileece, as well as drums by Adam Pierce from Mice Parade and orchestral arrangements by Johannes Malfatti, performed by the Babelsberg Film Orchestra in Germany. All clean.

OFFICERFISHDUMPLINGS

FINDS YOUR WAY HOME

NOTENUF

2006

Hatim Belyamani was born and raised in Morocco where he studied at the Casablanca American School. In 1995, Hatim left Morocco for college and discovered an entire new palate of sounds, from quirky jazz, artful punk, hip hop to IDM. On a smoky night in the year 2000 he welcomed his alter ego into the world, an electro-acoustic project dubbed officerfish- dumpl-ings, and from SF released his 1st EP Œofficerfishdumplings talks, you listen,¹ now a rare collectible item. This debut LP takes you on a meticulously designed roller coaster ride through bouncy and poised, glitchy and clean, dancy and trippy, dense and spacious, firey and cool, far-east and near-east, equatorial and arctic, time and distance, rock and roll. A detour from the ubiquitous tedium. All clean.

ANOTHER ELECTRONIC MUSICIAN

PATIENCE

2006

Another Electronic Musician follows up last years 'Use' (n5MD) with his sophomore outing 'Patience.' Never one to rest on his laurels or repeat himself, Jase Rex (Another Electronic Musician) has pushed beyond 'Use' to a place where the breadth of his sound has eclipsed expectations for an artists second full-length. Previous comparisons to Pole and Lusine are still present, but only in the very ends of their reverberation. "Patience" is a very dense album, culled from 36 original tracks, 10 of which where destroyed to create 'Patience's seamless journey. While still being playable track by track the album starts with the positive urban ambiance of "Waking at Noon" and ends with the intense hornet's swarm of "Pay," 'Patience' delivers exceptional forward movement without the use of overtly propelling beats or bass lines. Something akin to standing still as urban inhabitants pass you by at hyper-speed. 'Patience' is equally blurry and defined, if you utilize its virtues you will be rewarded by the vast spaces between. All clean.

LAST DAYS

SEA

2006

Last Days' debut Sea brings to mind all those last moments of events in ones life. Moments which yield those confused emotions that endings and their subsequent beginnings bring. Sea has an implied lo-fi cinematic quality which makes it feel like the soundtrack to an old super-8 movie you may have stored in the attic, the only things missing are the musty smell of the cardboard box that the movies have been in all these years and the warm clatter of the old projector. The music on "Sea" is just that emotive, to conjure up such visual detail to how you are feeling. A slightly new direction for n5MD, Sea is neither strictly electronic nor acoustic. Last Day's utilizes both elements to conjure up a sound that is somewhat minimal yet musically rich, much like the more introspective moments of Port-Royal (Resonant) or Deaf Center (Type) 'Sea', is somewhat of a concept album about escaping modern life and all responsibilities that come with it. Based on mood and song titles "Sea" has a narrative running through it describing the foolish exploits of one disillusioned character as he recklessly travels north alone on a boat only to be lost, found and rescued but fearful that the urge to flee society and be alone again still remains. "Sea" is a beautiful, emotionally honest album that helps you remember all those last moments or even a way to escape them but if for a moment. All clean.

SONGS OF GREEN PHEASANT

AERIAL DAYS

2006

Songs Of Green Pheasant is the work of Duncan Sumpner, a 30-year-old artist / teacher from Oughtibridge in Sheffield. His self-titled debut album was released on FatCat in August 2005, and drew widespread praise, gaining admiration from Devendra Banhart, Múm, and Vetiver, and making many people¹s lists as an outsider Œalbum of the year¹. What emerged on that record was something fragile, yet coherent and utterly charming. With a warm cloudy depth, sweet melodies and some gorgeous vocal harmonising, it was a set of simply beautiful, beautifully sung and played songs. Where ¹Songs Of Green Pheasant¹ was tagged as yet another outsider / neo- folk release, its sphere of reference lay closer to an uneven lineage of artists like Butterfly Child, Talk Talk / Mark Hollis, Pan American, Simon & Garfunkel, Flying Saucer Attack, Jewelled Antler Collective, Richard Youngs, and Galaxie 500. Whilst certain of these tracks retain the feel of that album, others hint at the future, and musically SOGP has clearly moved on. The newer tracks (recorded now in 8-track) show a richer, more sparkling production, and overall it isnt anywhere near as folky as before.

MAX RICHTER

SONGS FROM BEFORE

2006

Born in 1966, Max Richter trained in composition and piano at Edinburgh University, at the Royal Academy of Music, and with Luciano Berio in Florence. On completing his studies, Richter co-founded the immensely successful contemporary classical ensemble Piano Circus, where he stayed for ten years, commissioning and performing works by Arvo Pärt, Brian Eno, Philip Glass, Julia Wolfe and Steve Reich. Beautifully recorded and cinematic in scope, ŒSongs From Before¹ once again carries a pensive, emotionally resonant tone throughout that manages to fully engage the listener. Following 2004¹s critically acclaimed ŒThe Blue Notebooks¹, ŒSongs From Before¹ provides a further refined, perhaps even subtler take on Max¹s narrative landscape, yet sounds as contemporary and impacting as any of his previous work. Punctuated by Robert Wyatt¹s distinctive, understated readings of Haruki Murakami¹s text (chosen by Max for it¹s haunting, Kafka-esque tone), ŒSongs From Before¹ utilises piano, cello, violin and viola, with Max playing piano, mixing and producing. Augmented by regular contributors Louisa Fuller, Natalia Bonner, Rick Costa, John Metcalfe, Chris Worsey, and Ian Burdge, the music evokes forgotten memories or lost histories, a series of bittersweet articulations that seem suspended somewhere between a dreamy sense of awe and melancholia. All clean.

KID KOALA

YOUR MOM'S FAVORITE DJ

2006

One of the most clever, loveable, creative turntablists of all time! Since his seminal ³Scratchcratchratchatch² cassette of 1996, Koala has been established in a class by himself, as he pieces together bits of records and tape to manually create crazy stories, vignettes & soundscapes. He's staged elaborate performance pieces, published graphic novels & is always honing and expanding his vast creative talents. Your Mom's Favorite DJ is yet another Koala masterpiece! Check the liner notes for the full Kid Koala story, or visit kidkoala.com. All clean. BAND WEBPAGE ON TOUR

RELAY

STILL POINT OF TURNING

2006

"Shoegaze is bound to pop up when talking about Relay¹s blissful, effects-heavy sound, so let¹s get it out of the way. That¹s fine with frontman Jeff Ziegler, who doesn¹t exactly love the tag. Ziegler¹s influences tend more toward Disco Inferno, Bark Psychosis and the Swirlies. Relay began four 4 ago when Ziegler moved to Philly from Boston and started nurturing musical ideas with drummer Gerard Angelini (orignally from Portland, OR). Relay's range goes from noisy and propulsive to calmly meandering. The Stereolab-ish ³Context² and distortion-washed ³IDK² contrast nicely with the formless ³Prill² and beats-tinged ³Pre.² Much of it is surprisingly poppy, and you¹re as likely to hear shades of Sonic Youth or Brian Eno as you are My Bloody Valentine." -Doug Wallen. All clean. BAND WEBPAGE

POP LEVI

BLUE HONEY

COUNTER RECORDS

2006

Super Numeri member Pop Levi - 1st name "Pop" last name "Levi" (leave-eye) - created a dilema for Ninja Tune by submitting a brilliant "un-Ninja" demo. Ninja wonders aloud to itself, "what are we to do!?" The music is too amazing not to release, but far outside music we're known for. Solution: a new label, Counter Records. This debut of Counter has a gritty retro-pop feel, its opening bass guitar growls, its catchy, ethereal refrains and winding guitar solo. There are clear connections to the dark psych sound of T.Rex and dirty glam heroes of yore. His well intentioned borrowing of muddy blues riffs and his vocal style might even, for a moment, make you think "what if Marc Bolan sang for Led Zep, or Robert Plant for T.Rex?" - if that doesn't scare you too much! All clean. BAND WEBPAGE

ENSEMBLE

DISOWN, DELETE

2006

This is Olivier Alary's (Ensemble) debut for FatCat, heralding his 1st new material in 5 years. Olivier was actually the 1st person from whom the newly-founded FatCat label ever received a demo. He wanted to work further on his tracks and in the end, the plans came to naught. A chance meeting with Rephlex in 2000 resulted in the release of his 1st LP, Sketch Proposals, then came numerous writing collaborations with Björk, along with several remixes of her work. This ep features a guest performance from Chan Marshall (Cat Power) on the title track, which is a delicate fusion of symphonic, wall-of-sound production and intimate folk-pop vocals. Trk 4 is a characteristically abstract but beautiful reworking of "Disown, Delete" by Tim Hecker. All clean. BAND WEBPAGE

MICHAEL VERNUSKY

BLOOD THAT SEES LIGHT

ALASSEIS

2006

When people think of Texas, they don't often think of experimental music, but Austin-based composer Michael Vernusky is quietly countering that perception, taking his unique music across North America, to Europe & Japan. Four years in the making, his debut LP showcases meticulously detailed performances of his emerging talent. Listeners new to his sound are likely to remark at how well he balances electronics and acoustic languages. The music takes you along an emotional journey through passages of meditation, despair and hope. The ethereal spaces, lushly dissonant harmonies, walls of noise, and the varied instrumentations demonstrate a musical language of a refined and impassioned taste. If only Ambiances Magnétiques was based in Dixie... All clean, instrumental. BAND WEBPAGE

OUR BROTHER THE NATIVE

TOOTH AND CLAW

2006

Our Brother the Native are 3 young American guys (two aged 16, one 18) who FatCat discovered via Myspace.com in '05, and instantly fell in love with. This is a stunning debut LP, informed by a wide range of influences. With their campfire clap-alongs and skewed vocals, and the use of circuit bent children's toys, they might come on like the kid brothers of Animal Collective or CocoRosie, yet this is far from being a derivative or imitative LP. Meshing picked acoustic guitars, piano, banjo, with percussion, cracked electronics, bird noise, radio static, children's toys, they perform a neat balancing act between the prettiness of their melodies and the self-inflicted damage of the ear-melting noise. This is a very free and loose-sounding LP, with a wealth of detail for the listener to explore and get lost among. All clean. BAND WEBPAGE

RELAY

TYPE/VOID

2006

Relay kicks out a blistering shoegaze-synth-guitar-psych barrage, not too far off base from the electro-shoegaze exploits of NYC's Shy Child. They were all there the first time around, so they do it with a natural know-how and sense of adventure that brings back the wonder of discovery and enthusiasm of youth. The band hails from Philadelphia and is comprised of Jeff Zeigler, Mikele Edwards, Ian Fraser and Gerard Angelini. Their demo was on heavy rotation in the Bubble Core office before getting signed (even getting snuck out a few times to air on a local indie radio station). Get out to see 'em and remember what you love about the best t-shirt in your collection. All clean. BAND WEBPAGE

SPIKE PRIGGEN

THERE'S NO SOUND IN FLUTES

VOLARé

2006

"Even though there are far too few of us left, fans of standard-yet-smart guitar pop á la Jason Falkner, Jon Brion, The Kinks, etc. will be glad to know that guys such as Spike Priggen are still out there penning uplifting sad songs that both rock and comfort. Think of that crunchy Fender Twin sound with just the right touch of distortion, combined with eloquent vocals that speak in delicious, melodic lines, and throw in nooks-and-cranny lead breaks, drum fills, backup harmonies - voila! Catchy songs that are packed with sophisticated hooks, reeking of timeless relevance. There is a familiarity in his tunes because your subconscious remembers a time when "pop rock" was a compliment and not a dirty, "unhip" phrase... embrace how absolutely enjoyable & intelligent this LP is." -Tim Den. All clean. BAND WEBPAGE

QUENCH

CAIPRUSS

2006

The highly prolific Dutch duo of Don and Roel Funcken drop another LP of all new material via their Quench moniker. This their 5th Quench LP and 2nd for n5MD starts where 2002's Dyn (u-cover) left off and hotwires the Quench blueprint for further digital mutation. Fans of their many projects (Funckarma, Quench, Shadowhuntaz, Cane) will see a sonic shift from their past ethos. All but a ghost of the long stretched out percussion is present swapped out for more alien double-time broken "funck" reminiscent of the Funckarma mothership's previous output. Still present are the long emotional pads which hold together the Funcken's dense cybernetic beats and elastic bass-work. Caipruss may be the perfect intersection of all of the Funcken's projects mangled together into one album. A true treat for fans and a perfect jumping off point for newcomers to this highly original duo's body of work. All clean.

BITCRUSH

IN DISTANCE

2006

Bitcrush is the escapist solo project of Mike Cadoo (ex-Gridlock). Contrary to his work in Gridlock and his earlier solo project as Dryft, Bitcrush strives to fuse live instrumentation with experimental electronica's glitch-centric production techniques. His debut (Enarc) on Component was, by the artists admission, a snapshot of his musical history thus far. Earlier this year a follow-up EP was released via n5MD sister website en:peg Digital entitled Shimmer and Fade. The EP featured heavily processed digital fluctuations blended with genuine percussion, shimmering guitars, interwoven dual bass guitar work and a sprinkling of vocals throughout. Bitcrush is continuing to expand upon this style of fusing emotive electronics and live instrumentation. All clean. BAND WEBPAGE

THE MUTTS

I US WE YOU

2006

The Mutts 2nd LP heralds another chapter of a band still in their ascent. Simultaneously evolving and refining their trademark celebrative rock & roll, this 9 track EP/mini LP serves up the band's strongest, most focused and fully realised set of recordings to date. Continuing to deliver garage menace and classic rock in spades, it nevertheless conveys a looser, more instinctive stance and displays a wider collective remit. The Mutts may call to mind a number of different periods of rock history and as far as influences are concerned people will make their own assumptions (The Who, MC5, Stones, Sabbath, the list could be endlessly revised) but The Mutts real strength lies in sounding like a band primarily doing it for themselves - just enjoying it for the redemptive, life affirming sake of it. All clean.

DWIGHT TRIBLE

LIVING WATER

2006

After last year's release Love Is The Answer, Trible's collaboration with Ammoncontact's Carlos Nino and the young beatmakers of LA, Ninja brings you the organic, acoustic take on the singer's cosmic jazz vision. Originally released in 2004 in the USA, Living Water finds the singer-musician-storyteller at the peak of his powers, displaying a virtuosity gained from a lifetime of refining complex techniques with the same dedication as dear departed masters John Coltrane and Horace Tapscott, both major influences on Trible. The bold humanitarian stance of those legends frames the repertoire of Living Water, that includes superb Trible originals like the heart-stopping acapella Peace as well as brilliant new takes on jazz staples such as Andy Bey's "Celestial Blues" and Wayne Shorter's "Footprints." All clean.

NEW FLESH

UNIVERSALLY DIRTY

2006

The pioneers are back! New Flesh have always been more than a step in front of the opposition, and from the opening bars of "Backyard," probably the freshest dancehall tinged riddim heard from the UK, it's clear that Universally Dirty is going to be something very special. With producer & disposable graffiti artist Part 2 mixing up a fresh blend of hip hop, dancehall, soca, grime and Britfunk, this is an LP which perfectly sums up where Black British music should be original, vital, infectious & outward-looking, whilst still smashing the floor! Add to this heavy soundscape the contributions of two world class MCs, Juice Aleem and the multi-diverse Toastie Tailor, then you have a serious contender for an album of the year! SCREEN for profanity/content: trks 3, 4, 5, 8, 13.

COLDCUT

WALK A MILE IN MY SHOES single

2006

Coldcut return with the stand-out single from their critically-acclaimed album, Sound Mirrors. The pioneering duo take Joe South's classic 70s hit "Walk A Mile In My Shoes"and re-work it in the tradition which started with their own "Autumn Leaves" and incorporates Massive Attack's "Unfinished Sympathy" amongst others. And, as usual, Coldcut know how to pick a collaborator. Robert Owens should need no introduction. One of the true legends of house music, his career as a musical innovator (as well as the possesser of an all-time great voice) runs from pioneer days as one half of Fingers Inc in Chicago in the '80s right up to collaborations with Photek and London Elektricity, via any number of classic tunes including "Tears," "I¹ll Be Your Friend" and "Ordinary Son".

BONOBO

"NIGHTLIFE"

2006

The 3 songs here show in all its glory the varied, yet entirely coherent sound that Bonobo has made his own. 'Nightlite' features the unique, indefinable voice of Bajka (pronounced Biker). Bajka grew up as part of a travelling music commune called Embryo in places such as Afghanistan, Nepal and Pakistan. Now based in Germany she has released records on labels such as Ubiquity, Jazzman and Compost. A massive and varied talent, her soft-to-sharp vocals sit perfectly over a trademark falling chord change. 'Recurring' displays Simon Green's odd talent for simultaneously defamiliarising and reassuring listeners, welding together disparate sounds that never let the attention waver. Finally, album highlight 'If You Stayed Over' showcases the inspired pairing of Bonobo with fellow Ninja artist Fink. The song's wrenching vocals, "Eleanor Rigby" strings and ultra-sharp, blues sensibility add up to something very lovely indeed.

AMMONCONTACT

WITH VOICES

2006

Fulcrums of LA Black music, Carlos Niño & Fabian Ammon are perfectly poised between the jazz crowd, underground hip hop scene and heavy soul-beat sound. They're joined here by the legendary Yusef Lateef, Kamau Daaood, Dwight Trible, Lil Sci (Scienz of Life and MF Doom cohort), Abstract Rude, Sach (The Nonce), Prince Po (Organised Konfusion), Brother J (X Clan), Cut Chemist, Daedelus, Mia Doi Todd. Check Lateef, Trible & Po (trk10), Lil Sci's drawled attack (trk6), Sach's ATP-esque abstract rhythmatics (trk2), Rude's jazzy freestyle (trk13). Nothing is forced or out of place. The guests all add to a feeling of unification - rare on "producer" LPs. An LP which grows from a love of music & love of a city & is all about heart... and a little soul. All clean but trk7 "shit" @1:23.

ANOICE

REMMINGS

IMPORTANT

2006

"This Tokyo-based sextet make some really sublime instrumental music. Monumental and subtly nuanced; they all allow plenty of room for each other. Mixing guitars, programming, viola, bass, piano, drums, mandolin and synthesizer into the 9 varied sonic excursions presented here. Mesmerizing soundtracks to nonexistant films that bloom in the center of your mind. Ranging from very small and soft spoken to toweringly grand and vast. Some pieces have the feel of chamber music renditions of Mogwai or Spacemen 3 songs; others feel like an accurate aural description of loneliness." -Dream Mag. Carefully crafted songs with strong attention to melody, solid accompaniment and courteous counterpoint. All clean. (rhymes with "a choice.")

CHICAGO AFROBEAT PROJECT

[self-titled]

CAbP

2006

Chicago Afrobeat Project is a dynamic musical collective rooted in '70s funk and jazz-infused afrobeat. CAbP mixes traditional afrobeat with other dance-invoking musical motifs such as Chicago's electronic house, complex West African rhythms and upbeat funk - polyrhythmic grooves and sharp horn lines that stir up energetic momentum. What began as a simple sound experiment in a Chicago loft in 2002 became a mission to assemble like-minded musicians from the world over until reaching the current band's undeniable chemistry. Today, the ever-morphing 7- to 11-piece CAbP consists of a full percussion section, full horn section, keys, guitar, bass and African dancers, and is still growing. A must for fans of Antibalas, Fela. All clean.

LOESS

WIND AND WATER

2006

Clay Emerson and Ian Pullman started Loess in early 2000. Previously they were part of improv ambient projects including Codec Scovil, with which they're still active. The duo spent 2 years on their 2002 debut on Nonresponse and followed up with a series of singles and remixes (for Ontayso and Gridlock). Their move from urban Philadelphia to the rural Pine Barrens of N.J. helped shape Wind and Water. The LP features sounds that are moving, breathing, crumbling and decomposing, often within a single track. The vibe fluctuates between a feel that is ominous/foreboding and one that is hopeful and calming, finding balance between the stark black & white by working the nuanced gray areas of sound. All clean.

LOKA

FIRE SHEPHERDS

2006

Liverpool collective Super Numeri don¹t so much seem from another era as from another dimension altogether - one where the experimentalism of the 60s never stopped, where Altamont didn¹t happen & Syd Barrett didn¹t go mad. It¹s unlikely that you'll come across many LPs like this, with its cosmic rock/abstract rhythm & blues. You may, however, have come across some of the group¹s members in some of their other guises. Karl Webb is in Loka, who also records for Ninja. Snap Ant and Pop Levi both record and release records for Invicta Hi Fi , the label of Danny Hunt of Ladytron (the Snap Ant band recently supported them on tour). Yes, the tracks are very long. And worth playing every second! All instrumental, all clean.

TOM BROSSEAU

EMPTY HOUSES ARE LONEY

2006

A natural songwriting talent coming from such disparate influences as Nick Drake, Cole Porter, and Woody Guthrie, Tom sings songs of lost love and poetic observation that shimmer like aural tintypes. Ostensibly a collection of highlights from his recorded history to date, augmented by several new recordings, Empty Houses works as a fine introduction to Tom's plaintive, eloquent, timeless music. The ingredient in this mix that will flat out give you chills is Brosseau's voice, which sounds eerily like a high-lonesome reincarnation of Jeff Buckley. High, limber and sometimes vibrato-tinged, it seems to hover between the masculine and feminine. His playing elicits a hushed reverence from admiring listeners blessed with the intimacy and emotional immediacy of his live performances. All clean.

DROWSY

SNOW ON MOSS ON STONE

2006

This is the 2nd LP from Finland's Mauri Heikkinen. At times he recalls singer songwriters such as Smog, Syd Barrett, Nick Drake or Robert Wyatt, with a late ¹60¹s acid folk leaning. Anchored in observations of his own reality and rural, geographical isolation, his writing reveals intense humanism. By turns upbeat, downhearted, laden with ennui, yearning and frequently permeated by surreal, dark humour, Mauri¹s is a kind of modern rural cosmology that¹s multi-dimensional and refers to much beyond its core reality of the countryside and its seasonal cycles. His weathered-beyond-its-years voice shifts from a soft, in-your-ear burr to a low rasp, backed by acoustic & electric guitar, piano, organ, accordian and subtle fx-use, joined at times by cousin Odkid on bass. All clean.

ROOTS MANUVA

ALTERNATELY DEEP

BIG DADA

2006

When Rodney Smith aka Roots Manuva began work on the LP which was to become "Awfully Deep" he never expected to make the best part of 30 tracks. But that¹s how it worked out. Furthermore, he had insisted that he didn't want his new record to be more than 12 or 13 tracks long. The solution? A year on from releasing one of the best and most critically-acclaimed albums of 2005 comes the release of the best of these additional tracks. Collaborators include Jammer, Lotek, Colossus, Easy Access Orchestra and live vocal partner Ricky Ranking, but, as ever, the record is definitively the work of Roots Manuva, a fine addition to a remarkable body of releases. All clean except: trk5 "gonads" @0:33, trk9 "shit" @2:27 & 2:29, trk11 "fuck" @ 0:24.

HIM

PEOPLES

2006

Sometimes a revolving lineup is a good thing. For the latest and seventh HiM album, Antibalas founder Martin Pera and trumpet player Jordan Mclean joined in the fun, as well as Need New Body bass player Griffin Rodriguez, and singer Christian Dautresme. Together with the core of Doug Scharin (Codeine), Adam Pierce (Mice Parade), and Josh Larue (Sorts), the band stayed in Japan after their tour for recording sessions in Tokyo. The resulting mayhem brings burning African song structures alongside Sun Ra-esque vocal parts, pushed by an unparalleled rhythm section and covered by a soothing pop umbrella... not a typical album by any stretch. All clean.

ANIMAL COLLECTIVE "GRASS" EP

2006

ZERO DB "BONGOS, BLEEPS AND BASSLINES" SINGLE

2006

54 SQ. FOOT TRAMPOLINE "THAT SIMPLE"

HILLBILLY STEW

2006

COLDCUT

SOUND MIRRORS

2006

Ninjatune masterminds Jonathan More & Matt Black strictly adhere to the adage, "it's quality, not quantity" when it comes to Coldcut releases. Somehow they manage to cover an impossible range of styles, yet never fail to retain focus & identity as they seamlessly transition from one world to another. Trk1 is a glitch-blues pop song that leads into a delicious dancehall send up feat. Roots Manuva, then into an abstract avant-beat track feat. Annette Peacock (ECM label). Every track seems to turn another musical corner (soulful trk10, psychedelic trk11), supported by a venerable list of guests - Jon Spencer & Mike Ladd (trk7), Andrew Broder/FOG (surreal trk6). There's also no lack of meaningful social & political messages (trks 4, 5, 9), capped off with a beautiful cinematic piece (trk12). All clean.

SUBTRACTIVELAD

SUTURE

2006

Vancouver-based subtractiveLAD (Stephen Hummel) has been evolving as a performer for over 7 years. Hummel began performing in the jazz-improv world but before long his emerging fondness for analogue synths shifted his focus to an entirely electronic sound. The recent progress of computer technology has allowed Hummel to design most of his own instruments and create a sound that is both extremely personal and unique. His music can be described as melodic, fluid & deeply emotional, full of warm analogue ambience, punctuated with processed crunchy experimental electronica style rhythms. The subtractiveLAD sound hints back to 70s-era Eno and Tangerine Dream, but infused with a contemporary laptop aesthetic. All clean.

SUPER NUMERI

THE WELCOME TABLE

2006

AMANDINE

LEAVE OUT THE SAD PARTS

2006

On the heels of their US tour (supporting Animal Collective, American Analog Set & Tristeza), Sweden's Amandine have gathered up another collection of lush melodies and sincere songwriting. The EP leads off with the fragile lyrics and swelling strings of 'Firefly' from their 2005 debut LP. Two songs are taken from their UK 7², 'Sparrow' & 'Between What He's Saying' - the oldest song recorded dating back almost four years. There are also 2 previously unreleased songs. Both 'Union Falls' and 'Lovers Trail' offer the swaying feel and lyrical genius we¹ve come to crave from Amandine, while horns and strings add their touches of melancholy in just the right spots. All clean.

STORSVEIT NIX NOLTES

ORKIDEUR HAWAí