Running Back’s 50th anniversary comes courtesy of Redshape. After his utilitarian Bonuz Beatz effort earlier this year, the masked man is back on the monolithic techno tip. Graced with a sense of tradition and a modern stlye of execution, “Leaves” is the sort of warehouse rave signal that exceeds the sole purpose of a tool. Speaking of which, it comes in two different mixes to choose from accompanied by two unclothed versions for the creative DJ mind.
Welcome to the world of Lord RAJA, a strange, sometimes perilous alternate dimension with beauty and decay in equal measure. It’s a world built on the beat-centric music which flows through New York native Chester Raj Anand’s stream of consciousness; here, classic hip-hop is spliced into vintage IDM, ambient, footwork, and experimental sound design. Our latest dispatch from Lord RAJA’s uncanny realm is the impulsive and unpredictable A Constant Moth LP, 12 hyper-detailed scenes ripped from the surreal mayhem at play in the mind of this talented young producer. [Source]
After posting a teaser video and some basic information last month, John Foxx has unveiled further details about his new album, Evidence Of Time Travel. It’s a fully-fledged audiovisual work, a “unique sonic & visual investigation into the terrors and pleasures of temporal displacement” to be precise, and sees Foxx collaborating musically with Steve D’Agostino, with graphics created by KARBORN. The album will be released on vinyl, CD and download on October 6 via Foxx’s Metamatic label, while a performance of the piece as a live film will take place at the BFI in London on November 21. [Source]
Electro pioneer John Foxx has joined forces with animator Ian Emes to create the video for “Flightpath Tegel,” one of the tracks from his new release, D.N.A. (out on October 11th). Foxx, a visual artist as well as a musician, takes his abiding fascination with film to its logical conclusion on a CD/DVD package that also includes a collaboration with director Macoto Tezka. In the wake of recent projects with Alex Proyas and designer Jonathan Barnbrook, Foxx’s exploration of the possibilities of audiovisual work continues to bear rich fruit. [Source]
Burial is the eponymous debut album by the dubstep producer Burial. It was released in 2006 on Kode9’s Hyperdub records to critical acclaim, including being named “Album of the Year” by The Wire magazine. It was also named the 25th best album of the decade by Resident Advisor, who called it “a revolutionary record in the way that it influenced dubstep sounds and reinvented 2-step for an entirely different generation”. The album artwork is by Burial, and includes an aerial view of South London around the area of Wandsworth Prison and the intersection of Trinity Road and Windmill Road.
“Square” is the follow up to Redshape’s album debut “The Dance Paradox” (Delsin, 2009) – that is if you don’t want to count the double impact 12-inch “Red Pack” as a long player. And indeed, it is a long player in the truest sense of the term. Pamphlets, theories and opinions about the dubious role of “the album” in techno are dime a dozen, i.e. squaring the circle, but the man with the mask makes an effort to prove all of them wrong. “Square” doesn’t care for styles, genres or expectations, it can hold its own. Spread across twelve tracks you are as likely to meet vintage Redshape on tracks like “It’s In The Rain” or “The Playground (Square Version)” as you will encounter new facets of him with the Hyperdub affiliated Space Ape featuring “Until We Burn” and “Moods And Mice” or with a cluster of ambience pieces (“Orange Clouds”, “Landing”, Departing”). Working its way through all these states and moments on and off the dance floor, through melancholy and industrial romanticism alike, “Square” leaves you with the feeling of having experienced an electronic music album with identity that trusts in itself and wants you to trust in it. No matter if your perspective comes from a classic album like Kenny Larkin’s “Metaphor” (R&S, 1995) or is informed by the recent retro futuristic developments in the United Kingdom, if techno means more than a desperately compressed kick drum to you, Redshape with all his idiosyncrasy finds his way into your heart.