Sep172018| September 17, 2018
It features remixes of material from his recent album Cerebral Hemispheres.
Read next: 10 essential Larry Heard records
A variety of producers have contributed remixes of tracks from his first album in 24 years Cerebral Hemispheres, which was released in April.
The first in the series features Call Super and Duplex’s reinterpretations of ‘Crying Over You’, as well as Rodaidh McDonald’s version of ‘Praise To The Vibes’. The second EP sees Joey Anderson, Kode9, Upsammy and Mr. Fingers himself all contributing remixes.
Finnish veteran Aleksi Perälä offers two microtonal edits of ‘Inner Acid’ and ‘Outer Acid’ for the final part of the series.
Hear clips from the releases at Clone, and see below for the tracklists for all three EPs.
Praise To The Vibes / Crying Over You Remixes
01. ‘Praise To The Vibes’ (Rodaidh McDonald Remix)
02. ‘Crying Over You’ (Call Super’s Lonely Mix)
03. ‘Praise To The Vibes’ (Mr. Fingers Extended Version)
04. ‘Crying Over You’ (Duplex Remix)
Cerebral Hemispheres Remixes
01. ‘Outer Acid’ (Mr. Fingers Remix)
02. ‘Electron’ (Joey Anderson Remix)
03. ‘Spy’ (Kode9 Remix)
04. ‘Outer Acid’ (Upsammy Hearing Voices Remix)
Inner / Outer Acid – Aleksi Perälä Remixes
01. ‘Inner Acid’ (Aleksi Perälä Mix)
02. ‘Outer Acid’ (Aleksi Perälä Mix)
Dec052017| December 5, 2017
From essential track IDs to crafted EPs.
Having picked out our favourite 7″s and 10″s, we turn our attention to the 12″ in the second of our retrosepctive rundowns of the last twelve months.
And just as 7″s no longer represent the year’s biggest chart hits, so has it been some time since 12″s were exclusively the domain of the dance floor.
From the simple 2-track club banger to EPs that border on mini-albums, we’ve demanded that each 12″ offers something more than just an aggregation of the year’s best tracks.
Some though, like Objekt, Denis Sulta and Bufiman do represent the year’s most urgent dance music, or in the case of Bicep, Four Tet and Nathan Fake distil new albums in more forms.
This year, the 12″ has also been the friend of the UK’s burgeoning grassroots jazz movement, capturing the nascent scene as it grows and evolves, whether on Joe Armon-Jones & Maxwell Owin’s Idiom, Moses Boyd’s Absolute Zero or the improvised voyages of A.R.E. Project.
And finally, the 12″ was also home to several beautifully crafted EPs, cementing concepts and musical ideas – from Fatima al Qadiri’s provocative sexual politics to LAPS’ DIY dancehall – that circumvent generic boundaries for something true to the musical diversity of 2017.
You may have also noticed that we’ve changed the emphasis of our lists this year away from the tired, arbitrary and frankly over-used ‘best’, to the more openly subjective ‘favourite’. We believe this more accurately reflects the fact that these rundowns are essentially recommendations of what we’ve enjoyed most this year, as selected by our weekly contributors Patrick Ryder, James Hammond and Chris Summers, alongside VF’s editorial team, Gabriela Helfet and Anton Spice.
What were your favourites this year? Let us know in the comments below.
See the rest of our 2017 review:
Our 50 favourite albums of 2017
Our 10 favourite 7″s of 2017
Our 12 favourite reissue singles of 2017
Our 30 favourite reissues of 2017
Our 12 favourite soundtracks of 2017
Our 12 favourite record sleeves of 2017
Bicep may have dropped their long-awaited debut album, taking first place as the most track ID-requested producers of the year by a country mile in the process, but the audio pinnacle from this Belfast duo actually came in the form of their final release of 2017. The Glue EP delivered one of the LP’s finest cuts on the A-Side, plus fresh tracks which included the delightfully acid-tinged ‘DLR’ on the reverse. – GH
Don’t Get Me Wrong
This curveball dropped right at the start of 2017 and hasn’t left the record bag since. Lead track ‘Be A Man’ sashays across the dance floor with jasmin-infused disco pizzazz, lush synths and a belly-dance bassline underpinned by sharp-as-brass percussive shuffle. Things take a step down to Room 2 on ‘Rigola’, the groove staying in the pocket, with vibraphones to the fore. A triumph for the Music From Memory off-shoot that was heard far and wide this year. – AS
18. Carla Dal Forno
(Blackest Ever Black)
A VF favourite coming off the strength of last year’s debut full length You Know What Its Like and its accompanying singles, this year gave us four new cuts from Carla Dal Forno which made for more essential listening. An artist who sets out an alluring sound world of mysterious and uneasy pop music, The Garden carried on where her debut left off in its sparingly affective structures and ability to craft distinctive vocal hooks that work their way in with repeated listens. – JH
17. Denis Sulta
Nein Forteate EP
Glasgow homebro Denis Sulta launched his own label with two choice EPs this year, the highlight of which was its inaugural release, Nein Forteate, featuring ‘Dubelle Oh XX (JVIP)’. The kind of synthy club anthem that Sulta is rightly becoming known for, its greatness lies about 3 and a half minutes in, when the track, seemingly at its peak, suddenly cuts out… Is it a mistake, a DJ faux pas, a power problemo? Nah. It’s Sulta bringing in a silky smooth “ohhhh yeah” vocal, before dropping the ole hook in back again to maximum effect. – GH
16. Beatrice Dillon & Call Super
‘Inkjet / Fluo’
One of our favourite collaborations of the year also appears on one of our favourite labels in sweet symbiosis, as Beatrice Dillon unites with Call Super for this Hessle Audio affair. As with many of the 12”s gracing this year’s list, the A-Side ‘Inkjet’ is a legit slice of aqua electronics, but it’s the flip – ‘Fluo’ – that we’ve been rinsing since it dropped. A soundtrack for the robot takeover to come, with Blade Runner-esque dial tones making way for exquisite saxxy breakdowns midway through. Proof, if ever you needed it, that no B-side should be left unturned. – GH
15. Avalon Emerson
Avalon Emerson returns to Whities for the follow-up to her Narcissus in Retrograde EP – one of our favourite 12”s of 2016 – on a different, but no less excellent, tip. With this catchy double-dose, she continues her well deserved ascent as one of the most exciting producers around: ‘One More Fluorescent Rush’ serves glitchy, spaced out feels, before ‘Finally Some Common Ground’ takes off on a Soichi Terada-esque, one-way trip to the intergalactic mothership. – GH
14. Four Tet
‘SW9 9SL / Planet’
Aside from a couple of split 12”s last year, 2017 marked something of a return to the prolific output we’ve come to expect from Kieran Hebden, releasing a handful of 12”s, a load of material via multiple Spotify aliases, some brilliant remixes, the year’s most ID’d edit ‘Question’, and a new full-length infamously made using just a laptop and a view over some unspectacular woodland. Thankfully, the album’s two stand-out tracks were also collected on this limited 12”. Propulsive, melodic dance music for the headphones or the dance floor, ‘Planet’ is Four Tet’s finest since There Is Love In You. – AS
13. Craven Faults
Elusive, evasive, but delivered with unerring authority, Craven Faults is one of this year’s wildcards. Arriving on a mysterious label with a soaring two-track EP of airborne krautrock, Netherfield Works pays its dues to ’70s Düsseldorf and the San Francisco Tape Music Centre and casts them to the English winds, forging two sprawling tracks from within a nest of patch cables in an old Yorkshire textile mill. A modular synth record that, like recent works by Kaityln Aurelia Smith seems to shed its machined origins to become something altogether more organic, Netherfield Works overflows across two sixteen minute tracks that will appeal to fans of Cluster, Steve Reich and the like. – AS
12. Fatima Al Quadiri
Few EPs set out to challenge norms and hegemonies like Fatima Al Qadiri’s Shaneera, which riffs on the English mispronunciation of the Arabic word for “outrageous, nefarious, hideous, major and foul.” Reconstructing snippets of Grindr chats, online drag and femme comedy skits, and Iraqi proverbs into a hybrid vernacular built from Kuwaiti and Egyptian Arabic, Shaneera is an intoxicating listen – all menacing dubbed-out electronic arrangements – and a self-confessed “love letter to evil and benevolent queens around the world.” – AS
Dekmantel celebrated a decade as a champion of left-field, dance floor meditations by delivering its strongest year yet, hosting an annual sell-out festival in Holland, a smaller soiree in Croatia, and releasing some of the label’s finest music along the way, including Dekmantel 10 Years 04 EP and Juju & Jordash’s Sis-Boom-Bah LP. However, it was Bufiman aka Wolf Muhler’s Peace Moves EP that best represented the weird af and wonderfully off-kilter sonics which have come to define the Dutch imprint. A seemingly bizarre combination of growling vocals and cranky, bent out of shape jack-in-the-box effects that sounds so wrong it’s right. – GH
10. Moses Boyd
(The Vinyl Factory / Exodus)
Drummer and producer Moses Boyd exploded into the wider musical consciousness with ‘Rye Lane Shuffle’ in 2016, and this EP, co-released between VF and his own Exodus imprint, was his much-anticipated follow up. Ditching the horn stabs for shimmering krauty synths, Absolute Zero was born out of Boyd’s solo live shows but has since been reintegrated into the Exodus band with which he has sold out the likes of Corsica Studios and Jazz Café this year. Underpinned by his live-wire drum sound, this EP swells with a restless ease, referencing influences as broad as grime, ambient and hip-hop, rooting this new jazz mode in an urban context. One of the year’s breakthrough artists, expect to hear much more of Moses in the coming months. As objective as we can possibly be, the soft-touch laminate artwork by Optigram may also make this one of our favourite sleeves of the year. – AS
9. Agnes Obel
‘Stretch Your Eyes (Quiet Village Remix)’
(Phonica Special Editions)
You don’t need us to tell you how great it is to share a building with a record shop, let alone one as consistently on point as Phonica. So when manager Simon Rigg called us into his office one afternoon last summer with news of an extra special 12” on one of the shop’s in-house imprints we knew it was going to be good. Here Quiet Village pull apart Danish singer Agnes Obel’s ‘Stretch Your Eyes’ into a dark and dubby chorale, backed by an eerie a cappella imbued with the same haunting longevity of Massive Attack’s ‘Teardrops’. – AS
8. SW. / SVN
Who needs things like track names when the music can do the talking? Not SW. that’s who. The producer follows up a close-to-perfect 2016 LP (appropriately called The Album) to team up with SUED co-founder SVN. SUED 18 kicks off with Pepe Bradock-esque house heaviness on the A-Side, plus a knockout, subdued techno ride on the reverse. – GH
7. Floating Points
‘Ratio (Deconstructed Mixes)’
Though Floating Points debuted versions of the slow-rolling, emotional synth-filled ‘Ratio’ via live shows and DJ sets last year, it finally saw a long-awaited official release this October. Well worth the wait, ‘Ratio’ is a shimmering number that harkens back to Floating Points’ supreme ‘Myrtle Avenue’ and ‘ARP3’ fare. And though it may seem like a mere sales gimmick to release the track in ‘deconstructed’ parts, as he did on the B-side, it’s not. If you caught his live set this year, this seemingly fractured 12″ actually makes perfect sense because no live version of ‘Ratio’ was identical. An exciting hint that the best of his new material is yet come. – GH
6. Joe Armon-Jones & Maxwell Owin
A record that captures the jazz routes and roots coursing through London at the moment, tying together the convergent legacies of broken beat, house, 2-step and fusion that having been coalescing south of the river for some time. Aside from being assembled from a quintet of fiercely accomplished musicians (Armon-Jones & Owin are joined here by Nubya Garcia, Oscar Jerome and Jake Long), Idiom is a refreshingly playful record that never takes itself too seriously. With discrete improvisations woven into the fabric of each track, Idiom is greater than the sum of its parts, and a testament to the community that has helped elevate it. – AS
5. Nathan Fake
Providence Reworks – Part I
A primer on how a track, in this case Nathan Fake’s ‘DEGREELESSNESSS’ from his Providence LP, can be turned into (two times the) greatness, thanks to formidable edits. A-Side sees Overmono assuming the rework duties to craft one of the anthems of 2017’s festival season, teasing out the most euphoric moments of ‘DEGREELESSNESS’ across seven and half minutes. Meanwhile, a no less worthy of rotation revamp from Huerco S brings a psychedelic, Middle Eastern-hued séance to send you into a zen-filled trance. – GH
LAPS are Ladies As Pimps, the Glasgow duo and Golden Teacher affiliates forging an industrial dancehall sound that’s unlike anything else we heard this year. If there’s one big hit here it would be title track ‘Who Me?’, which finds a sweet spot between the sensual, the confrontational and the surreal we had no idea existed. It’s a trick ‘Edges’ manages too, before rounding off the EP with the fragmented “pyjama house” of ‘Lady Bug’. A charismatic record that pulls no punches, and a fine first foray into new music for 2017 label newcomer MIC. – AS
If in January someone had told us one of the biggest tracks of the year would be a slowed-down two-step garage beat-meets-techno superjam, we would have been rather confused about what the year held in store. But so it was. TJ Hertz’s first release since 2014, a 12” on the club-focused white label series under his Objekt alias, stormed dance floors far and wide thanks to its unexpected B-Side. ‘Theme From Q’ is the kind of track that works in sets of all shapes, speeds and sizes, because it’s just that great. – GH
2. Hieroglyphic Being, Sarathy Korwar & Shabaka Hutchings
A.R.E. Project EP
Arguably one of the UK’s most prolific and inspiringly creative musicians, Shabaka Hutchings leant his saxophone touch to a number of contenders for our favourite releases of the year, including the Comet Is Coming’s psychedelic jazz 12” Death To The Planet 12”. That said, A.R.E. Project, a unique and forward-thinking, improvised collaboration between Hutchings, Hieroglyphic Being and Sarathy Korwar was the obvious choice. Captured during a completely live, two hour performance aboard a studio moored inside a ship along the Thames, the EP sees cosmic sax merging with Indonesian folk music and space-age electronics for a truly one-of-a-kind result. – GH
1. Sudan Archives
One of this year’s most enchanting debuts came from violinist, producer and vocalist Sudan Archives, whose self-titled EP on Stones Throw takes the award for our favourite 12” of 2017. Channelling the bedroom RnB production that sustained her early forays into music into an outward-looking hybrid sound, Archives draws as much on North African melodies and instrumentation as Stones Throw’s storied left-field hip-hop tradition.
A self-taught violinist, she weaves finger picking rhythms into the fabric of her productions, and uses its sawing melancholy to lend a gorgeous nostalgia to each song. And while ‘Come Meh Way’ might be the track you’ll have heard most, ‘Oatmeal’ and ‘Goldencity’ exude the same singular clarity, marking out a route between the percussive, earthy RnB of opening track ‘Paid’ and the syncopated folk musings of final track ‘Wake up’. A modest record, both utterly new yet uncannily familiar, we revisited this EP time and again this year, and can’t wait to hear what comes next. – AS
Illustration by Patch D Keyes.
Sep272017| September 27, 2017
It’s joined by an accompanying 7″, ‘Arpo Low’.
Call Super will release his second album on Fabric’s Houndstooth label in November.
Read more: The 10 best vinyl releases this week
Arpo is the Berlin-based producer’s follow-up to debut Suzi Ecto – one of 2014’s best electronic LPs – and his recent Inkjet EP collaboration with Beatrice Dillon, described as “imaginative techno that’s made for the floor”.
His new album is a “mesmerising environment of restless beauty that refuses to conform to much else beyond his own work”, says Houndstooth.
Arpo is joined by an accompanying 7″ called ‘Arpo Lo’, which is housed inside a random drawing from Call Super’s Three Hundred Cuts project, a collection of illustrations by the producer himself. These can be viewed at Call Super’s website.
Arpo is released on 10th November 2017. Pre-order a copy here, and check out the track list below.
3. OK Werkmeister
4. Music Stand
5. Any Pill
6. Arpo Sunk
7. Ekko Ink
8. No Wonder We Go Under
9. I Look Like I Look In A Tinfoil Mirror
11. Out To Rust
Sep252017| September 25, 2017
Mangled disco, sinewy post-punk and the ghost of Billie Holiday.
Another massive week for new releases sees Beatrice Dillon & Call Super lead the way in the singles section, closely followed by a brace of inquisitive propositions – Four Tet’s summer edit anthem ‘Question’ and VF album-of-the-year winner Panoram’s analogue collages ‘The Question’.
On the albums rack, there’s no space for Jordan Rakei’s Wallflower – although the hugely talented multi-instrumentalist gets a shout out here nonetheless. Instead it’s Moses Sumney, Godspeed You! Black Emperor and DFA homeboy Eric Copeland that pack the biggest punch, although the Steve Albini-produced Metz might have a thing or two to to say about that.
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 and James Hammond with help from Norman Records. 5 singles and 5 LPs every 7 days that are unmissable additions to any collection.
Beatrice Dillon and Call Super
Beatrice Dillon is no stranger to this list and a choice collaboration on the 12” format. Past efforts with Karen Gwyer, Rupert Clervaux, and Kassem Mosse are all most worthy investigations and this latest one with Call Super is no exception. Imaginative techno that’s made for the floor, certainly a formula befitting to Hessle Audio and their 10th birthday celebrations.
A return to 12″ for the Italian producer behind VF’s top album of 2014. ‘The Question’ posits some of Panoram’s most cogent aesthetics, from filtered analogue funk to distant cut and paste soundscapes and lush dream-like instrumentals, with the kind of raw fallibility lacking from many of his contemporaries. Stand-out tracks include Zawinul free-jazz wig-out ‘Orange Road’, and a well-worn homage to PPU-esque garage funk on ‘Ana Lyze’. A deep, gratifying listen.
Who’s This Guy?
(Chicago Bee Records)
Despite a seventeen year break from the release sheets, Mark Churcher shows no signs of ring rust on his return to vinyl, furnishing the frontline DJs with a powerhouse 12″ of raw 303 heat. The first release on his freshly minted Chicago Bee Records, ‘Who’s This Guy?’ sees Churcher adopt his new A-Eno-Acid moniker and rip through the rasping acid jack of the title track, the hypnotic gurgle of ‘Acid Sodastream’ and the soaring, searing bleepfest of ‘Mika Vainio RIP’. Chuck in a deeper, dopamine-rinsing remix from Planet Mu affiliate Gasman, and you’ve got everything you need to get the rave gremlins rocking!
The white labels of this came and went in a shot, and chances are the full release on Text could well do the same. If you haven’t heard this yet you are in for a treat. Built on a funk loop that stops, starts, drops and loops, ‘Question’ is simple, but devastatingly effective. KH aka Kieran Hebden aka Four Tet really is a very talented young man.
(Box Bedroom Rebels)
The latest on Box Bedroom Rebels throws the usual bunch of goodies into the package (posters, confetti, temporary tattoos) but, as always, the music is worth investigating. They make drifty atmospheric indie with nods towards the Clientele and the Cure. Lovingly vague.
Few artists have commanded as much expectation as Moses Sumney, and his debut LP doesn’t disappoint. As the title suggests there’s a classicism to much of the record, which shines through most vividly on the orchestrated movements of ‘Don’t Bother Calling’, where shades of Thom Yorke and Billie Holiday vibrate like ghosts among Sumney’s fragile falsetto. It’s in these moments that Aromanticism really resonates, and the textbook crescendoes of tracks like ‘Lonely World’ feel forced in comparison. For a major pop album though, Aromanticism has enough textured understatment to be well worth exploring further.
Godspeed You! Black Emperor
The 6th album proper from Godspeed You! Black Emperor and one of their best in recent years sounds all the better for its avoidance of post-rock bombast, and favouring of a more subtle and cohesive approach. Still managing to channel political and cultural malaise into visceral instrumental works 20 years down the line, this one’s a recommended listen for newcomers and hardened fans alike.
While his better known label-mates are hitting the stadiums in support of their all-conquering comeback album, unflinching audio weirdo Eric Copeland continues his mangled, spangled journey into the fringes of industrial disco and hallucinatory club tackle with his latest LP Goofballs. Across the course of eight entirely skew-whiff missives, the New York musician plays fast, slow and extremely loose with tripped out sequences, detuned bleeps and distorted percussion, creating a coherent though utterly insane sonic vision on the way.
Guess it was only a matter of time until Canada’s finest three piece hooked up with the legend himself, Steve Albini. Strange Peace, their third album, is a full on rumbling juggernaut of fuck-you riffs, titanic drums and angry man vocals. No dragging and no messing around, this album runs at 11 the whole way through.
(Trouble In Mind)
Omni’s not so secret weapon is guitarist Frankie Broyles. His lithe, twisted playing electrifies their records of sinewy post punk. Multi-task is a brilliant, inventive tour de force that will appeal to fans of Pylon and Talking Heads.
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Registered in England and Wales under no. 04184222.