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Rhythms Of The Pacific
Volume 3
Pacific Rhythm
Another sampling of the ‘Vancouver Sound’, as it is not known.
The recording debut of Slim Media Player, with two deep (but not too deep) club cuts, toeing the line between ‘just about heady enough’ and ‘I’ll play this one later when more people are here’.
Electric Sound Broadcast kicks off the flip with a thoughtful tribute to his favourite recreational vehicle; before Khotin brings us ashore with a track referred to as the ‘EP standout’ by someone on the internet.
Richard Dawson, Rhodri Davies and Dawn Bothwell, with Laura Cannell and Jeff Henderson. ‘A heady and funny-tasting punch of early 90s synth, dark-ages thumping, space boogie, wild plays and vocal delays, electric crow song, utter nothingness and folkish mumblings.’ ‘A terrific circular musical tug of war…ravishing gravel melodies, higgledy-piggledy rhythms and thick, burbling textures’ (The Wire).
Double portions of irresistible Kikuyu disco from early-nineties Kenya, in gorgeous silkscreened sleeves.
Just a handful of copies.
Rootsy, melancholic, modern calypso, featuring the Mansa Musa Drummers. Lovely stuff.
Killer Roy Ayers productions, originally out on Uno Melodic in 1981. Both sides are two-step murder.
Eleven minutes of percussive grooving in classic Sotofett style, somehow simultaneously finger-snapping and hypnotic, with snake-charming flute. Backed with the recording debut of Vera Dvale, ‘a spectacularly heavy drone that transforms from sub-driven landscape to melodic noise and back again.’ Ace twelve.
Disco house and ambient from Norway, via the Sex Tags corner.
Deejays, try Speil-egg for some craftily nostalgic robot soul — with a remix by Fettburger (alongside Jayda G).
Marvellous, previously-unreleased instrumental music by this genuine pioneer of experimental pop, abstract electronics, Giallo jazz… even heavy drone rock jams. Music for thrillers, nature docs, educational projects and commercial sound installations — composed at her home studio in Rome in the late 70s, up till her death aged just 42 — from the hallowed vaults of the Deneb, Flirt and Canopo library labels.
The heart-melting, seventies Iranian pop of Faegheh Atashin — brilliantly scored for strings, in jazz, bossa, orch-funk and proto-disco settings.
By the time of this first LP in 1976, for a decade Selda Bragcan had been the radical spokesperson for her generation, and she could take her pick of the Turkish musical left-field. She called in the beat combo Mogollar and the popular backing band Dadaslar; also Anatolian rocker Arif Sag, and electronic-music pioneer Zafer Dilek.
Fierce, exhilarating, dazzling, contemporary big-band from 1968, taking no shit from funk and rock. Four drummers, three bassists… DE on his quarter-tone electrophonic trumpet… velvet and tinfoil tunics...
The Duke’s response to Billy Strayhorn’s death from cancer in 1967, this album is one of his masterworks.
Featuring Johnny Hodges, in Strayhorn’s sublime arrangement, Blood Count is utterly devastating, every time. Another masterpiece of despair, cut by wistfulness, After All is stone-cold classic Ellingtonia. The solo-piano version of Lotus Blossom — which closed the original LP — is the Duke at his most emotionally frank.
Ineffably beautiful music, to help you through life.
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