LPs

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Krzysztof Komeda

Rare Jazz And Film Music (Volume 1)

(Adventure In Sound)

Listen / Buy

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Composer and pianist Komeda – real name Trzciński – was legendary on the jazz scene in Soviet Poland in the 50s and 60s, when the music was something underground and deviant. Polanski picked him up to score his malevolent first feature Knife in the Water, making Komeda famous, and their partnership continued until Komeda’s untimely death following hi-jinks at a Hollywood party in 1969. Trumpeter Tomasz Stanko was the counterpart to his genius, and the whole band are in top fettle on the selection here, which is heavy on Knife In The Water material.

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Ariel Pink

Pom Pom

(4AD)

Listen / Buy

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Gone is the Haunted Graffiti aspect of the Ariel Pink moniker, and as such this one seems to pick up on the threads of releases prior to the most recent Haunted Graffiti records that brought Pink to a much wider audience (along with a fair deal of media-baiting). There’s a huge amount of ground covered on Pom Pom, making it a heady detour into Pink’s aesthetic – genre hopping through the retrograde – hooks, absurdity, and ideas to the brim. Definitely suited to repeat listens it’s another intriguing release from an artist who strikes a fine balance musically between the alluring and the grating.

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Brassica

Man Is Deaf

(Civil Music)

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Brassica builds on the momentum of his previous 12″s on Civil Music with this densely packed debut vinyl LP. As you’d expect from a man who made his debut on Andy Blake’s Dissident imprint, there’s plenty of moody waveforms, synthetic textures and chugging rhythms as the producer leads us down the rabbit hole into his crepuscular world. From the Hivern stylings of ‘Be Lost’ and ‘Psychic Heartburn’ to the Italians Do It Better synth funk of ‘Tears I Can Afford’ and ‘Ballo Dei Morti’, Brassica keeps the quality high, and references his influences without ever losing his own voice.

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Fugazi

First Demo

(Dischord)

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Back in January 1988, Fugazi decided to get down to the legendary Inner Ear Studios (the basement of Don Zientara’s house) and record what they had been doing for about ten shows in. The results are incredible. If they sounded this good that early on then it’s no wonder they became what they are. You’ll totally recognise the songs but there are different beginnings and endings, some middle eights and bridges are round the wrong way and the vocals aren’t as loud but just as passionate. It’s a definite must to your Fugazi discography. Fugazi rule!

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Happy Meals

Apéro

(Night School)

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A real treat this from the brilliant Night School imprint and the first offering from Glaswegian duo Suzanne Rodden and Lewis Cook. Apéro opens with the sparkling kosmiche largesse of ‘Crystal Salutation’, grand nine minute voyage that sits as the centre-piece to a fine debut. Curious enough in its sounds and influences to brush off cosmetic comparisons to the likes of Peaking Lights (in fact if we’re talking girl-boy duos, then look no further than gallic front-runners Mathematiques Modernes), Apéro showcases Meals’ evident reverence for analogue gear and the crafting of proper songs that charm and surprise at every turn. As ever, Night School have gone to town on the artwork and printing, which is second to none.

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