November 24, 2014
The Vinyl Factory select the 10 most essential vinyl releases of the last 7 days.
Another strong haul this week with new EPs on Running Back and Music From Memory as well as the perennially sought-after Jack White, while this week’s albums include end of year material from Andy Stott, as well as essential reissues for Patrick Cowley on Dark Entries and the ‘unofficial’ Twin Peaks soundtrack, Floating into the Night.
Scroll down for our definitive across-the-board rundown of the week’s new vinyl releases as selected by The Vinyl Factory’s Chris Summers, Patrick Ryder, James Hammond and Theo Leanse. 5 singles and 5 LP’s every 7 days that are unmissable additions to any collection.
Lucid Memory EP
Gerd Janson’s Running Back imprint begin their pursuit of a century with this stellar EP from debutant Roy Comanchero. Now, details about this mysterious man are scant, but my mate Woody (who gets a shout out on the sleeve) reckons he might be a Japanese bloke called Ryoya. Whoever the man behind the moniker is, he certainly knows his way around vintage gear, as he fires up Messrs. Jomox, Roland & Korg to deliver a sublime four tracker of proto-house and nuovo Italo flavours. The Terje styled disco of ‘Pugs Life’ is a surefire dancefloor winner, but it’s the hypnotic, tribal house groove of ‘The Delete Of Society’ which steals the show.
Wu Du Wu
I think there’s a particularly focussed excitement around single sided records, which is magnified even further on this one – the kicker-offer of Second Circle, an offshoot of Redlight-records-associated label Music From Memory – by the apparent decision to limit its availability to bigcartel and physical, street-based shops. The music comes from Jan Schulte, whose material with/as Wolf Muller is some of the best of the last year, in collaboration with a set of European musicians including producer (and Berlin Record Loft boss) Christian Pannenborg, channeling tribalism in a non-cringe way, with driving, shifting percussion that’s stripped back and deep and rich.
With his activities outside of Nine Inch Nails seemingly stepping up a notch or two, this 12” rounds off a vintage year for Alessandro Cortini. Firstly we had the stellar full length ‘Sonno’ on Hospital Productions and now under the Skarn guise some insistent explorations in minimal beats and fried textures on London’s Avian records. Always one to keep his work on the modular synthesizer vital and distinct there’s a simplicity in these three pieces that cuts deeper as they swell, pulse, and become sumptuously articulated with distortion. Top drawer.
Visions of Love
Tapper Zukie’s ‘Visions of Love’ is in full sight once more, with the original 12″ so rare that you’d be hard pressed to actually call this a reissue. Where last year’s Zapper Zukie reboot ‘Freak’ had a more pronounced disco lean, ‘Visions of Love’ has a gloriously chugging proto-house drive, skewed so brilliantly by Tapper’s oddball vocals that it even has something of the naivety of Onyeabor about it. Housed in a hand-stamped manilla sleeve and with a dubbed-out intergalactic instrumental of the flip, this is one helluva 12″.
‘Would You Fight For My Love?’
(Third Man Records)
This song is really all about the one note buzz bass line that kicks in halfway through. After the rolling drums and grand piano are done and Jack’s finished his teary eyed rant there it is, the whole song drops to it and then builds and builds over it, like rumbling thunder getting heavier and heavier. This shit totally rocks and once again proves what an unhinged genius Jacky is.
Faith in Strangers
Andy Stott’s work ethic and consistency in recent years has rightfully been bringing him to the attention of a wider audience and this Faith in Strangers is another huge step forward. The opening segue of ‘Time Away’ and ‘Violence’ sets a precedent for the album that Stott delivers on throughout – intense atmospherics, sublime pacing and restraint, with a host ideas that have been refined with a decade or so of experimenting across genres. One for those impending end of year lists.
Low Dip Revue
Aaron FIT Siegal puts his Est. 83′ imprint back in business after a 12 month hiatus with this limited vinyl reissue of Madteo’s cassette only Trilogy Tapes release from 2012. On it’s original C90 format, Low Dip Revue saw the producer guide a floor oriented pulse of slo-mo funk through a VST wasteland of distortion, reverb, delay and saturation, creating a bubbling crucible of lysergic slime. For this vinyl reissue, none other than Sex Tags Mania boss himself DJ Sotofett has stripped down and remastered the original material, adding his idiosyncratic tribal touch to proceedings.
Patrick Cowley and Jorge Socarras
A godfather of Hi-NRG electronic disco, which would prove a foundation for the sounds that flooded the dance and pop music of the 80s, Patrick Cowley’s influence is kinda immeasureable and seeping. So it’s a small wonder that this album, composed from salvaged recordings made with the vocalist Jorge Socarras between 1975 and 1977, has lain in mouldy archives, and never been released on vinyl (it was out on CD in 2009) despite being a fair way away from his pumping Hi-NRG material. It’s a trip, a concept album of sorts, electronically multifarious, loaded with Patrick’s unique synthesizer tones, and references to its context within gay scenes of the late ’70s.
Floating into the Night
With the show about to suffer a high stakes return in 2016, this timely reissue of the ‘unofficial’ Twin Peaks soundtrack spans the breadth of Lynch’s oevre as director, from Blue Velvet in ’86 to The Company in ’03. Long-time collaborator Angelo Badalamenti scores for Lynch’s lyrics here, delivered with unsettling, deathly grace by Julee Cruise, like an unmoved, glassy eyed witness to a shocking murder. The record that spawned the ‘Lynchian’ adjective, Floating into the Night is essential for fans of the unheimlich, as well as anyone who needs a reference point for Julia Holter or Dean Blunt (who sampled this on ‘The Narcissist‘).
El Paso’s favourite afro rockers return with their brand spanking new band and it seems like everything that’s come before has been condensed into this. That means the direction of At The Drive In and the sprawling musicianship of The Mars Volta have turned into the most direct and straight forward rock outs yet from Cedric and Omar (with Flea on bass). It’s weird at first, but then gets you hooked. You need this.