Gallo-Romance Languages – Acob’s Music Section

https://www.resampld.com/

Gallo-Romance Languages – Acob’s Music Section

Thanks James!

Draugsjukan – Bleksot

Scythe – Head X’Change

Nedjar

Nuke Watch – Pepper’s Ghost

Hayman Island Sessions – Stargaze Inferno

an ANF tip!

Giuseppe Ielasi – Unfamiliar Music Vol​.​1 (Guitar Duets)

Akio Suzuki – Stone

Legendary selector/compiler Lil Toby with a Lovers rock special for TTT, a label he helped kick off with some of its earliest, choicest numbers.

‘Lovers’ lays down 69 minutes of syrupy sweet vocals and well-oiled, downstroke grooves for reggae romantics with a heart in its early ’80s UK sound. By this point Lil Toby tapes are a buy-on-sight affair, and this one is set to be right up there with his most cherished.

End to end he draws for the slowest, most luxurious strains of the sound that paralleled US soul and R&B with a laid-back JA-UK steez, flush with blushing synths and always locked to a slow sway, most often defined by lyrical themes of love and loss in a crooning style that would help it transcend roots in the UK’s Afro-Caribbean communities to become a prized and precious example of how reggae mutated on these shores.

Aye, you can go whistle for the track-list until some fiend puts them all up online, meantime simply nice up yourself and ease off into Toby’s flawless run of picks for timeless pleasures.

Thanks Boomkat!

“Arch underground agitant and astringent Wanda Group wears his British Museum badge for a wickedly grouchy and absorbing rummage around his viscera for key patrons TTT

Notably absent from the conventional release schedule for years now, Essex-via-Huddersfield’s electronic collagist and iconoclast Wanda Group has nevertheless been prolific in issuing tranches of the rawest, home-brew crud ranging rom janky Jandek or G. Lambkin-esque jams thru to more elusive electronics on his tod. ’SATAN IS A ROOF OVER MY HEAD’ coughs up 16 gritty morsels made under his newest alias BRITISH MUSEUM that fall into the fissures of DIY concrète and ambient bilge, following his nose off-the-cuff from what sounds like pocket-dialled recordings thru to melting rhythmic anarchorganisms akin to NYZ’s algorithmic experiments.

Never knowing what to expect next, tracks buckle and collapse in fits and inexplicable shapes, variously touching on trampled industrial, barbed earfloss, a class bout of Actress-like funk skudge (‘FLEA WORSHIP’), Nomex style dub noise (‘DOYBLE P L’), to revel in pure textural grot on ‘DOUBLE LEAGUE’, and a thrumming post-punk goth stepper ‘VOICE SQUATTING DUB’. Go on.”

Thanks, Boomkat!

“Jack Sheen follows last year’s ‘Solo For Cello’ with an hour-long composition made from breathy vocals, whistles, footsteps and sizzled, saturated recordings of silence.

Domestic choral music, anyone? Sheen strips the choir to its barest bones, instructing his ensemble to reduce their voices to a near whisper to bring out intense imperfections. He instructed each singer to mumble or hum instead of projecting their voice, having them pace around a room – “a celebration of vacancy” no less – and hand over recordings of domestic silence that he wove into the composition. It’s a tough one to accurately explain, but Sheen’s finished piece moves with the momentum of vintage choral music, but retains little of the character. The harmonies you might expect to hear are still there, lapping around the edges, but the sound is muted and distorted to an uncomfortable degree. When singing at such a profoundly low level, the voice cracks and distorts, tweezing the pitch so it wavers apprehensively. Sheen traps these moments of unease and focuses his piece on their naked intimacy – at times it sounds like a boiling kettle, or a distant swarm of bees.

Obsessively sculpted, the composition hums with gravid emotion. The fizzing white noise adds another level of tension, and Sheen is careful with his pacing, introducing it and chopping it away to create pressure that’s never fully released. We’re reminded of Robert Ashley’s delicate and exquisite ‘Automatic Writing’, itself assembled from whispers and nervous tics – Sheen’s approach is less cloistered but no less affecting, reminding us of the beauty of choral music without succumbing to any of its bombastic pomposity.”

Thanks, Boomkat!

Saint Abdullah & Eomac – Light Meteors Crashing Around You Will Not Confuse You

Richard Anuszkiewicz

Ibdijmoeft – Wrought Iron

Waswaas – Antidote

Lumpeks – Polonez