NOTE: ALL ENTRIES ARE LISTED IN ALPHABETICAL ORDER BY ARTIST

Josh Varnedore 186,000 Endings Per Second Dynamophone		Leyland Kirby Intrigue & Stuff (Vols. 1, 2, 3) History Always Favours The Winners
Martin Herterich Kustlandet Fang Bomb		Nest Body Pilot Serein | REVIEW
Paper Relics Recovered Artefact Audio Gourmet		Pleq And Marihiko Hara The Dawn Came Behind The Fog Twisted Tree Line
Pole Waldgeschichten Pole		Roel Funcken Fes Bace Eat Concrete
Shaula The Girl In The Clock Time Released Sound | REVIEW		Simon Scott Depart, Repeat Sonic Pieces

Full shrine to the best of 2011 is still under construction, meanwhile here are our Favorite Interviews, Favorite Podcasts, and Best New Labels of 2011

NOTE: ALL ENTRIES ARE LISTED IN ALPHABETICAL ORDER BY ARTIST

Access To Arasaka Orbitus Tympanik | REVIEW | INTERVIEW		Antonymes Meets Slow Dancing Society We Don’t Look Back For Very Long Hidden Shoal | INTERVIEW
Bnjmn 141 Svetlana Industries		Burial Street Halo Hyperdub
Clem Leek A Letter hibernate | LABEL PROFILE | INTERVIEW		Demdike Stare Elemental – Parts 1 & 2 Modern Love
Fennesz Seven Stars Touch		Frank Riggio Texturtion EP + Distosolista EP DeepVast | REVIEW | INTERVIEW
Ghosting Season Far End Of The Graveyard This Is Forever		Hauschka Youyoume Serein | REVIEW | LIVE

We’ve got a lot more coverage coming up… Be sure to read Part Two, and check out our site daily for the next few weeks as we’ll be revealing more of our favorite EPs, Podcasts, Interviews, and of course, full length albums! And don’t forget our selections of Best New Labels of 2011 as well as Best Compilations and Mixes in two parts.

Well, excuse me, if it’s not good ol’ Volker Bertelmann making an appearance on the last installment of Serein‘s Seasons series as Hauschka! Having released Salon Des Amateurs earlier this year on FatCat‘s 130701 imprint, as well as a collaboration with Hildur Guðnadóttir, Pan Tone, on Sonic Pieces, and a two track long player with Rosilene Luduvico, Unbestimmt (Apparent Extent, 2011), Bertelmann is having a very good year! Plus it’s always interesting to see one of your favorite composers working with one of your favorite labels!

“It is no less interesting to see peoples reactions when I reveal that, for the most part, the multitude of tones and timbres that make up Hauschka’s compositions are in fact created exclusively by one man and one instrument.” -Huw Robert, Serein.

On Youyoume, Bertelmann starts out slowly with his staple prepared piano shuffles and snaps until the rhythm picks up and the hammers remind us once again, that piano is a percussion instrument after all! On “So Close”, a track which is thirteen minutes in length, Hauschka is essentially creating the deep techno beats with a single note in the lower register, while slight reverb over the higher notes echoes the hypnotic driving rhythms in a staccato mimic of a drum machine. On the flip side of the record, Volker returns to his more melodic solo piano compositions, adding a cello into the mix, to create some very beautiful modern classical pieces.

More than anything, it’s always wonderful to witness Bertelmann’s performance in person – read Headphone Commute‘s coverage of Hauschka Live at Joe’s Pub. At only 500 limited edition 10″ run, this final record in the Seasons 2011 series is sure to sell out in less than a few days! This fourth and final installment completes Headphone Commute’s Serein Label Special, and although there are no plans to extend the series in 2012, there are definitely more exciting plans for the label!

hauschka-net.de | serein.co.uk

All this week, Headphone Commute has been featuring a Serein Label Special, profiling its 2011 Seasons series, which is composed of four limited 10″ vinyl records, released over the course of the year, pressed on heavyweight vinyl with hand numbered outer sleeves. And now we come to the highlight of Serein’s artist roster.

Nest is a collaboration between two wonderful musicians of the ambient and modern classical scenes: Huw Roberts – Serein’s label-boss and curator, also known as Opiate with three single-file digital releases on Miasmah in 2001; and Otto A. Totland – one half of Deaf Center, recently profiled and interviewed on Headphone Commute. Having previously fallen in love with Nest’s debut Retold (Serein, 2010), I held my breath in preparation for another beautiful journey, no matter how short. And even at four tracks in length, the Body Pilot EP exceeded my expectations. From solemn ambient pads to gorgeous piano passages, Nest delivers restrained compositions that are extremely fragile, delicate, and frail.

“Gently sustained strings rise from a near inaudible hum and are accompanied by slow, resounding piano notes. The pace is glacial, each sound unravels and unfolds in sequence painting a vivid picture of the record’s opening scene. The muted greens of an open plain as it tapers into the distance and the pearl-white of the sky, featureless save the bas-relief of a distant mountain range. The landscape resonates in sympathy with the beckoning drone of a propeller engine.”

With Body Pilot, Nest propels itself even further into the spotlight of acts to keep your eye on, creating sublime sonic dreamscapes for the soundtrack of your life. Once again, the sound of Nest is elegant, contemplative, intelligent, and incredibly resplendent. While Roberts has been busy in running the label (hence this entire spotlight on Serein and its Seasons 2011 series), Totland along with Erik K. Skodvin managed to release another celebrated album by Deaf Center – Owl Splinters (Type, 2011).

serein.co.uk

Does the sad, minimal, and drony music compliments the rain, or does the wet, dark, and windy morning makes that music so much better? These are some of the thoughts on my mind during my rainy commute, as the scratching little noises of Donato Wharton‘s guitar, floating synth ambiance, and seemingly random lo-fi acoustic frequencies occupy my head-space. I suppose that the title of this strictly limited edition 10″ vinyl EP on Serein, A White Rainbow Spanning The Dark, doesn’t help in my quest in concrete separation between the sound and unfolding reality – both are one and the same.

“By pushing the limits of his tools of creation, primarily guitar and field recordings, Donato introduces swathes of noise into his compositions, shaping it as a sculptor chisels stone to form topographies of often rugged terrains, blustery, cold and unforgiving.”

In just six tracks, London-based Donato Wharton confirms his creative composition and production skills, lauded from the previous releases on City Centre Offices: Trabanten (2004) and Body Isolations (2006). Centered around the theme of his recent travels as a sound designer for stage and theater productions, Wharton weaves sonic textures of desolate lands. vast soundscapes, and ‘elemental environments’. Although Wharton’s traversal through time and space from one destination to another is the main inspiration behind the music, I hear a stronger message percolating through sound – that sense of mere being, existence, and oneness with that space. Track titles such as “A Vast White Solitude”, “In A Mute Scape”, and “Breath Held” only confirm my suspicion of Wharton’s reflections on presence, contemplation, and silence.

A White Rainbow Spanning The Dark is the second entry in the label’s Seasons 10″ series, which we continue to cover in our Serein Label Special throughout this week. Recommended if you like Fennesz, Machinefabriek, Tim Hecker, and Lawrence English.

donatowharton.com | serein.co.uk

For the first entry in the label’s Seasons 2011 series, Huw Roberts of Serein invites a Chicago based crossover jazz duo, Charles Rumback and Charles Gorczynski, to contribute a four-track EP as Colorlist. Recorded by John Hughes (aka Slicker and owner of Hefty Records) and Joshua Eustis (one half of Telefon Tel Aviv), the duo brings a few collaborators for The Fastest Way To Become The Ocean: the prolific Jeff Parker (Tricolor, Exploding Star Orchestra and Tortoise) plays guitar on “Nine Lives”, while Liz Payne (aka The Zoo Wheel) sings and plays melodica on “What We Have Left”.

The EP opens up with a laid back spring-day “Light Conditions” of soft rolling and sweeping drums, chirping birds with woodwinds, and vibrant harmonium chords. At the center of the EP is a ten minute track titled “Nine Lives”, teasing the listener with a similar nonchalant sax arpeggio before Jeff Parker sneaks in with electric guitar improvisations, the drums guiding the pace of the piece into a building tension, refusing to break, until the awaited anticipation is resolved near the end. Th EP concludes with a track featuring the lovely voice of Liz Payne, featuring light undertones and a bit of South American slant, traversing the notes in the harmonics in unison with the saxophone.

I’ll be honest, I didn’t expect to hear any jazzy motifs on Serein, but I’m glad that I did. After listening to The Fastest Way To Become The Ocean, I take a detour to check out Colorlist’s Lists (Off, 2008) and A Square White Lie (482 Music, 2010) before the next entry in the Seasons. This is a really nice opening in Serein‘s series of limited edition 10″ vinyl releases, and a great opening for our Serein Label Special on Headphone Commute.

colorlist.net | serein.co.uk

Well, here’s indeed something special! The wonderful folks at Oktaf are releasing tracks in a new Sketches series into the world one at a time, and we got our dirty hands on the fourth installment from Marsen Jules, titled Serenade, exclusively for Headphone Commute! That’s right – this is the _ONLY_ place where you can hear this particular track for the next couple of weeks before it is available to the rest of the world!

Here’s more from the label on this exclusive series:

“OKTAF SKETCHES is a place for improvisational ideas and authentical moments in music. A preview to futures’ unreachable perfection – a tribute to the rough beauty of spontaneity.”

oktaf.com | marsenjules.de

We begin our exploration of the latest releases from Hyberdub with DVA (aka Diverse Arts and Scratcha). As an x-member of Aftershock crew (alongside Terror Danja), the tracks are bass-driven, dubstep riddems with a housey flavah. Natty starts off with a 4/4 kick and falls right into a square toothed bass ride with low rumbling snare hammering out tribal rhythms. Ganja is my favorite track on this 12″ – employing Benga style sliding, octave walking, gangstah whistle, simple kick heavy pattern, and incredibly persistent melody, it’s surely to become a winner for ringtone collectors. Check out DVA’s previous releases, My Style / Africe and The Jelly Roll EP on his own, DVA Music. Did you know that the word ‘ganja’ is a Sanskrit word for “hemp”?

Old skool rave stabs are at the front-line of the appropriately titled track on A side, Acid. This is a first release for Terror Danjah on Hyperdub, previously appearing on UK’s garage label, After Shock and even Planet Mu. For ProPlus, the “grime don” is joined by DOK (previous member of Aftershock), showcasing their classic sound of twisted synth notes landing somewhat sporadically across the syncopated drums, creating one of the most infectious deep grinding melodies. I love rolling down the street to this one, with the volume cranked up and the windows down! I only wish this track was about 5 minutes longer! You feel this?

Here are two tracks from Kyle Hall, with his first appearance on Hyperdub (after a remix of Darkstar‘s Aidy’s Girls Is A Computer). Hall is an 18-year old Detroit resident with a few releases on his own label, Wild Oats. Kaychunk offers more of that 8-bit bleepy mechanical wonkiness, with a Detroit influence of hip-hop, syncopated drums and even UK funky. On Side B, You Know What I Feel approaches 2 step territory, with a vocal controlled melody and a square wave bass line. Hollow kick, stumbles over a backdrop of synth pads, and a clicking rim shot slash claps combo. If you like the sound, also pick up Hall’s 4-track Must See EP ou on Third Ear Recordings.

This arcade style bleepy molded, dubstep layered, beat stomped track hides an intricate melody shifted into 8-bit territory of toytronic chiptune. Pushing the boundaries once again, Hyperdub brings us the latest from a female producer, Sara Abdel-Hamid, going by the name of Ikonika. The flip side of this 12″ features a housey mix by Altered Natives (aka Danny Native), that transforms the sound into a four-to-the-floor beat. The main track, Idiot, is taken off of Ikonika’s debut LP, Contact, Love, Want, Have, recently released on Hyperdub. If you dig this, see also Ikonika’s 2009 EP, Smuck, released on Planet Mu.

Here’s another 12″ split with only two tracks. On the logo side is the track Hylo, written by LV & Quarta 330. A fast paced beat splatters after the gameboy intro, with a super lo-fi percussion and a sonar melody that challenges the higher frequencies of my studio monitors. On the AA side is a remix by the duo of Suzuran, originally produced by Dong, which splatters in your face off the first beat. This is an uncharted territory of Japanese style chiptunes meets electro pops meets vocoder meets syncopated drums and off-key bleeps. Pretty alien sounding, if you ask me.

What’s that rumbling in the caverns of an abandoned tunnel? Why, it’s the evil bass monster! C’mere, you poor creature, let me feed you some digital scraps. Whoah, don’t be greedy! Let go of my 8-bit console! What’s your name anyway? Oh, it’s Baconhead, now, is it? And wipe your dirty bleepy mouth, or I may have to wash it out with Soap. So, who is hiding behind that green skin unleashed by the Irish net label, Acroplane Recordings? It’s Ben Hudson (aka Ebola) and Paul Bee (Autobee). This is their first collaboration together, producing saw wave synth stabs, laser sweeps, and deep bass sci-fi beats to wake you out of your day dreams back  into nightmares of cartoon flowers and cutout trees. The six track Soap EP, is a nice addition to Acroplane’s catalogue of digital releases, previously featuring Igorrr, Somatic Responses, and Barry Lynn (Boxcutter). While visiting the label’s site, be sure to pick up Ebola’s Brodmann Area available for FREE! Check out the track Wookie, to get your woopie wonking…

A newcomer to the scene of digital bass is Aaron King, releasing under the moniker Anodyne Industries. Hailing from the Bay Area of the States, King lands his first EP on IDMf Community, a net label spawned off of IDMforums. With solid production, breaky beats, and beautiful harmonics, King climbs to the top, among the label’s previous seven EPs and compilations. The Gateway EP collects five tracks across a few genres, including dark and crunchy IDM, melodic-vocal-anthem dubstep, and even drum’n'bass. The mood shifts from light to dark with appropriately titled Make It Darker, showcasing King’s ability of combining ethereal synth chords with nasty bass stabs. The best part is that this and all previous label’s releases are available for FREE – so point your clickers and download legally away! For a taste of IDMf, pick up the first few compilations, featuring tracks from the members of the forum community. Here’s my advice to established labels: always keep your eyes on some of this fresh talent… Download 320vbr MP3 or FLAC version.

Navigating through the web of net releases, I land upon a glitchy and abstract sound of Tomasz Kaye, aka Mormo, with his mind-bending experimental 8-track mini-album, Epicurean Swerve. Think Funckarma, Phoenecia, and dare I say Autechre. Put out by French collective of artists, Bedroom Research, this release features a taste of bleeps, clicks, and heavily processed rhythms as warped, swirled, and bit-stretched by this Holland-based artist. At times chaotic, mind-bending and bizarre, Kaye’s sound pushes the envelope further, past intelligent design and dance oriented beats. Always complex and never revealed at face value, the album begs for numerous returns, to peel back the intricate structure for a closer look at the splintered sound. Be sure to also check out Mormo’s debut album, Wasting 500 Sounds, released by Low Impedance Recordings back in 2006. If you have more bandwidth, crawl around the net-label’s site, and fill your queue with more freebies. Download the release HERE.

If after this bass-heavy entry you’re still hungry for more, check out this list of my favorite net labels to visit : Sutemos, Serein, Thinner, Kahvi Collective, Monotonik, Controne, zymogen, Stadtgruen, Polymorphic Music, 12rec, and last but not least, one – yet another netlabel.

Have you met Kuedo? Yes, you have… It’s Jamie Teasdale, also known as Jamie Vexd, who along with Roly Porter have already dropped a few dubstep bombs on Planet Mu, together known as Vex’d. With Dream Sequence EP, Jamie stumbles across lazy and almost drunken two-step beats, with 8-bit arcade game chords, twisted bit-crushed synths and degenerated vocoder. This four track EP features deep rumbling bass, almost bubbling to its own suffocation, and sluggish percussion, ideal for those nightmares when you’re struggling through the swamp as the ghostly vocals pull you back in reverse delay. The winner on this release is the track titled Starfox, which the EP was originally named after. Another highlight, Shutter Light Girl, is a minute long vignette of a beatless sound exploration to the likes of Burial. A little birdie has also told me that there is another upcoming full length, titled Cloud Seed, coming out soon. Pick up this, and previous Vex’d releases, such as Degenerate (Planet Mu, 2005), directly from the label’s site. This is bleepy, this is wonky, this is Planet Mu.

I’ve had my eye on the West Coast sound of San Francisco, Portland and LA, for a while now. The Glitch Mob, in particular, featuring Justin Boreta (aka Slidecamp), Edward Ma (edIT) and Josh Mayer (Ooah), have been producing some glitchy, breaky, and instrumental hip-hop. I’ll bet my money that Brendan Angelides, who has two monikers, Welder and Eskmo, has been hanging out with them. Releasing the Hypercolor EP as a digital download on his very own label, Ancestor Media, Angelides mixes up the sound dubstep with deep rumbles of hip-hop, where the crowd sways with the rhythm, clapping their hands with the beat. And his sound has already caught the eye of some heavy hitters. See, for example, his remix of Bibio‘s Dwrcan on Warp, and his 12″, Let Them Sing released by Planet Mu in 2009. What a great roster of labels to have in his biography! Although this EP is almost a year old, I still return to it, for its solid, polished sound. Be sure to pick up his latest split single with Eprom, Hendt / Lands and Bones (Warp, 2010), and, even more exciting, his collaboration with Amon Tobin, calling themselves ESKAMON, Fine Objects (Ancestor, 2010), which comes with a free WAV samples and Ableton pack along with the release! Sounds like a remix invitation to me! Recommended for the likes of the above, as well as Prefuse 73, Daedelus, Richard Devine, Nosaj Thing and all the usual West Coast suspects.

Well, since I’m in the mood for crunky bass, it’s only appropriate that I bring up this gem by Aaron Holstein, who goes by the name of VibeSquaD. Welcome to the world of crunkadelic basstraveler! I first came across Holstein’s sound with his debut, Return of the Pudding People on Bluetech‘s Native State. Since then, Holstein scored a release for Proboscis (that’s KiloWatts‘ digital label), a remix on Addictech and an appearance on Interchill. Oh, and Holstein is very good friends with the above mentioned members of The Glitch Mob – playing at many venues with them. So, we’re all in the family here. Joyful Noise is a collection of thirteen tracks, self-released in digital format. In terms of sound, VibeSquaD is raw, loud, and rumbling. Open up your ears to square-wave bass, solid punchy beats, and mind-twisting melodies that make you cringe your nose. Classification is pointless, unless you prepare yourself to skip over glitch-hop, dope-step, and and funk-bass. Production is crunchy, tight and top notch. This is a serious treat for fans of dubstep and IDM alike. Recommended to be listened to alongside Eskmo, Bassnectar, Heyoka, and the rest of the mob…

First up is a five track EP from Clem Leek. Consisting of four numbered Snow Tales and a remix, this collection of modern classical and ambient pieces is a sublime journey into the mind of this up-and-coming musician. Each piece has been composed in just two days, while Leek was observing the snow falling outside of his house. The release is accompanied by six beautiful photos, that Leek took with his Polaroid camera as soon as it started snowing. I close my eyes and listen to the tales. Somewhere in the background there is a roll of thunder. Ambient soundscapes, stringed instruments and endless pads swirl beneath the gentle piano keys and drifting vocals to evoke the feelings of stillness, falling, and contemplation. Oh, and did I mention that the EP is available as a FREE digital download from the one and only Experimedia? What else can one ask for? Don’t forget to also grab Clem Leek’s debut EP, Through The Annular, which is available from his own label, Schedios, and his bandcamp page. Also, looks like Clem Leek will be performing alongside Simon Scott and Machinefabriek on May 19th, 2010 (more info). Fans of Max Richter, Jóhann Jóhannsson, Nils Frahm and Keith Kennif will surely enjoy.

This is the second EP by Rafael Anton Irisarri on the Thrill Jockey distributed label, Immune, and I’m already all over it. His last EP on the same label was a beautifully packaged two-track 7″ vinyl, titled Hopes and Past Desires. With only three tracks, Irisarri crafts one of his best releases. Seductively constrained musical phrases, barely audible scratches, and incredibly tender piano notes encompass sorrow, longing, and nostalgia. Although three years apart, Reverie seems almost an echo of Irisarri’s similarly titled debut full length, Daydreaming released on Miasmah. “Für Alina“, the third 13+ minute track on the EP, makes me feel like I’m eavesdropping on a piano confession, sharing intimate moments of deep solitude through a lens of a vast ambient distance. This piece is a rework of Arvo Pärt‘s likewise titled “Für Alina” – I’m pretty sure that Irisarri must be a fan of the Estonian’s tintinnabuli style. And… now that it’s not a secret anymore (since even Wikipedia quotes it), I’ll be happy to reveal that Irisarri’s side project is none other than The Sight Below, for which you must have read many praises already on these and other pages. Speaking of which, be sure to also pick up an upcoming TSB release in collaboration with Simon Scott, titled It All Falls Apart out on Ghostly International in April, 2010.

And that last sentence was a perfect segue into a new EP by Simon Scott – a 16-minute single-track piece, burned on a 3″ mini CDr by Secret Furry Hole. This is the second release by Scott after his critically acclaimed Navigare (Miasmah, 2009). As interesting as it is, the EP was also written during a heavy snowfall late last December in Cambridge. Nivalis is Scott’s “tribute to the winter, the snow and the beauty of how the seasons change here in England“. Swells of strings are drowned in low-fi field recordings of Scott removing ice and snow from his doorstep, repetitive hypnotic patterns of organic soundscapes, and the distant, barely audible, subtle vocals. I mean, if you have to go out and shovel some snow, you might as well have Nivalis on, as a soundtrack. If not, go out and stare at the reflection of the moon, and slowly drift between the spaces. This is all there is – between the now and always – the isness. The EP is available directly from the label, but hurry – it is limited to only 200 copies! Be sure to also pick up other goodies from the label. Open your wallet and grab some limited releases by Buzz Aldrin, Hauschka, Glenn Johnson, Peter Broderick, His Clancyness, and the debut label release with collaboration by Library Tapes / Machinefabriek / Fabio Orsi / Die Stadt Der Romantische Punk - with compositions based on a sampled symphony by Henryk Gorecki.

I pause and think about this for a moment. This morning we had a heavy snow storm. I woke up, and the first thing I did was put on Clem Leek’s “Snow Tales” not realizing how appropriate it was with the weather – it was just something that was perfect. Commuting to work, the music inspired me to start this new section, Sound Bytes. My office was desolate, with many people snowed in, so I kept on listening to the music, migrating over to Rafael Anton Irisarri. I then remembered about Simon Scott’s release, which I also meant to write about, not realizing that it too, was about snowfall. It was written during the snow fall. The three recordings have a definitive theme, and I, not realizing it until this very moment, was in the same world for the entire day. So… I pause and think about this for a moment. Coincidence? I don’t believe it.  ~HC

20 FULL LENGTH ALBUMS

(listed in alphabetical order by artist)
Anders Ilar – Twilight Rainfalls (self)
Benge – Twenty Systems (Expanding)
BLÆRG – Dysphoric Sonorities (Bottle Imp Productions)
The Caretaker – Persistent Repetition Of Phrases (Install)
De La Mancha – Atlas (Crying Bob)
DeepChord – Vantage Isle Sessions (echospace [detroit])
Fanu & Bill Laswell – Lodge (Ohm Resistance)
Funckarma – Psar Dymog (Symbolic Interaction)
The Future Sound of London – Environments II (fsoldigital)
Gagarin – Adaptogen
Grails – Take Refuge In Clean Living (Important)
Jasper TX – This Quiet Season (Slaapwel)
Last Step – 1961 (Planet Mu)
Mad EP – Bass.hed (Ad Noiseam)
Mathieu Ruhlmann + Celer – Mesoscaphe (Spekk)
Natural Self – The Art Of Vibration (Tru Thoughts)
Obfusc – City of Cedar (Boldfish)
Takahiro Kido – Fleursy Music (PLOP)
Tomasz Bednarczyk – Summer Feelings (Room40)
Vibesquad – Bass Love (Vibesquad)

20 EPS AND SINGLES

(listed in alphabetical order by artist)
Access To Arasaka – :Port (illphabetik)
Barry Lynn – 98 EP (Acroplane)
Bitstream – The Severed EP (Touchin’ Bass)
Bop & Dephecta – Autumn Melancholy / The Space Between Us (Misspent)
Broken Note – Crux / Zealot (Ad Noiseam)
bvdub – Return To Tonglu (Quietus)
Dabrye – Get Dirty EP (Ghostly International)
Escapee Planes – Perfume (Eight:FX)
Fennesz – Transition (Touch)
Four Tet – Ringer (Domino)
Funckarma – Dubstoned Vol. 2 (Ad Noiseam)
Harmonic 313 – Dirtbox (Warp)
Library Tapes – Fragment (Kning Disk)
NHK – Unununium (Raster-Noton)
Noisia – Creep Out / The Bends (Non Vogue)
Reso – Tags & Throw-Ups Vol. 5 (Urban Graffiti)
The Sight Below – No Place For us EP (Ghostly International)
Tycho – Adrift / From Home (Ghostly International)
Vex’d – 3rd Choice (Planet Mu)
Welder – Chalice Well (Ancestor)

10 MIXES AND COMPILATIONS

(listed in alphabetical order by title)
All Sounds Electric Two (Critical)
Goldie – Watch The Ride (Harmless)
Sasha – Invol2ver (Global Underground)
Simon & Shaker – Surfaces #1: Plastic (Armada)
Technical Itch Presents You Need Therapy (Ohm Resistance)
Skream! – Watch The Ride (Harmless)
I Love Dubstep (Rinse)
Mary Anne Hobbs – Evangeline (Planet Mu)
Round Black Ghosts (~scape)
You Don’t Know: Ninja Cuts (Ninja Tune)

Don’t forget to read the original Headphone Commute’s Best of 2008 article.

I’ve been a big fan of Jeff McIlwain, and his Lusine moniker since his 2002 release on Hymen, Iron City. His 2007 album as Lusine Icl (the suffix which, he told me, stands for “intercontinental”), Language Barrier made it to my Best of 2007 list. So it’s no wonder that I had to pick up his new Two Dots single when it was digitally released by Ghostly International this summer. Showcasing the vocals of Vilja Larjosto, McIlwain creates an electronic poppy tune that gets remixed by Dave Pezzner and further reverse-engineered by Jeff himself. As a teaser for his upcoming album, A Certain Distance, released later by Ghostly, I listened to the three tracks over and over, until the phrase “Two Dots” rang in my ears through many sleepless nights. And you know what that means… Be sure to pick up A Certain Distance.

I just can’t get into Mark Pritchard‘s entire discography at this moment. Let me just say that his involvement in Harmonic 33 and Global Communication has already changed the landscape of the electronic music scene. In 2008, Pritchard returned to the scene as Harmonic 313 with his dubstep influenced instrumental hip-hop album, When Machines Exceed Human Intelligence, on Warp. But for this EP, it’s the first time that Pritchard uses his real name. There are two tracks on this single put out by Ho Hum Records. The first one, mysteriously titled ?, is a dark ambient brooding piece with a few standout synth notes piercing through the thick chords like ice drops. On the second, The Hologram, Pritchard whips out his staple dark hip-hop beats with a dubstep flava. Pritchard’s style always leaves me thirsty for more of his music, so I’ll always keep a faithful watch on all of his odds and ends. Be sure to also pick up a 12″ single on Huperdub, featuring Om’mas Keith, titled Wind It Up.
– See also HC review of When Machines Exceed Human Intelligence

The CEO of Ableton, Gerhard Behles, should be proud. His old partner in crime behind the Monolake moniker, Robert Henke, is still going strong. This dub infused techno record with spacey pads and solid percussion continues to capture the staple sound of the German underground. This is the newest material since the release of Polygon Cities back in 2006. It is edgier, yet subdued, with the silent claw for dark-steppers. Purely atonal, with a synthetic woodwind hook and a riding minimal low-octave minor chord, the rhythm progresses steadily at 138 bpm, in beat with the Monolake fans’ feet. Torsten Pröfrock contributed a T++ remix as the newest member of Monolake on a separate vinyl. If you’re hungry for more, Monolake has self released quite a few free tracks directly on the label’s site. Also, be sure to check out Monolake’s recently announced new album, Silence, out on Imbalance Computer Music in December.

In April, Ólafur Arnalds set out on a quest to compose and release seven songs in seven days. These tracks were initially distributed via his Twitter account, and when the project ended, it was obvious that this was going to be a hit among his followers and fans of neo-classical music. On Found Songs, gentle piano melodies are complimented by soft strings and lightly sprinkled electronica. The music evokes nostalgia and melancholy. But what’s more important is that it touches your heart. Immediately and permanently. And you end up searching for the rest of this beauty through Arnalds’ previous EP, Variations of Static, and his 2007 full-length debut, Eulogy For Evolution. And you find it there. The seven vignettes on this mini release are accompanied by photos from the Found Songs flickr group, created by fans specifically for this project.  These tracks are still available for free from foundsongs.erasedtapes.com but I recommend that you pick-up a high-quality download,  limited CD, or a beautiful 10″ vinyl directly from Erased Tapes.
– See also HC review of Variations of Static and an article on Ólafur Arnalds

Here’s another great release from the Athens (Greece) based Spectraliquid label that brought us acts like Blackfilm, Subheim, and A Wake A Week. This is the label’s introduction to a sound designer, John Valasis, who goes by the name of Poordream. Influenced by the Zeitgeist movie series, the sound of Immaterial Monarch is apocalyptic in nature, mixing up downtempo, breaks, and melodic IDM. The title track features the famous Mad as Hell sample delivered in its entirety by Howard Beale from his 1976 film,Network. These words always remind me of despair, social slavery, and collapsing reality. The track is remixed by seven artists, coming from all different backgrounds and genres. The second track on the EP, Sound of Consciousness, features an amazing short speech on Spirituality and the Now delivered by Chögyam Trungpa Rinpoche. Accompanied by ambient sweeps and backdrop world beats, this is truly an experience in the now.
– See also HC review of Blackfilm and Subheim’s Approach

God damn it, I love Reso! There are so many flavors of dubstep out there, from melodic to grinding evil, but no one rips it up like Reso. Sharp saw teeth of the bass just ooze nastiness from the darkness of my soul. Alex Melia has been releasing mostly 12″ on a variety of labels, from Pitch Black, to Urban Graffiti to Ranking Records. This year, he returned to Civil Music with a Heavy Arms EP. And it’s everything that I expect from Reso. Pristine production, with heavy beats, and roaring bass that gurgles and stretches from here to your neighbor’s bed. There are four solid tracks on this EP with an additional remix by I.D. The latter collaboration must have worked out very well, since the duo released another three track 12″ on Smokin’ Sessions, titled Shifty. For the lovers of everything bass.
– See also HC review of Reso Live @ The Kinetic Playground

Ever since the reclusive Seattle-based artist only known by the name of The Sight Below has released his debut Glider on Ghostly International, I have become a fan. (OK, I actually know who this is, but I promised not to tell, so if you end up figuring it out from other sources you didn’t hear it from me!) On Murmur EP, The Sight Below returns with his known, perfected and applauded sound. Sweet ambient guitar sweeps flowing through the ether are accompanied by dub minor chords and punctuated pounding four-four kick. The tracks are complimented by two more remixes of No Place For Us by Eluvium and At First Touch by Simon Scott. The sound of ambient-dub-techno will appeal to followers of Yagya, Gas and bvdub. Oh, and if you were lucky enough to grab the super limited clear vinyl with a very special rare remix by Biosphere, consider me a foe. I know where you live, and I’m coming to get it.
– See also HC review of Glider, No Place For Us EP,  and Two and a Half Questions with The Sight Below

When Squarepusher released Just A Souvenir on Warp in 2008, the album received a handful of mixed reviews. I personally enjoyed it, and for those who heard between the notes, the follow up EP, Numbers Lucent, is more than just a treat. The familiar melodies and bass riffs originally explored on the album are now remixed with that Squarepusher flair. Here is the deeper slapping bass, the drilling breaks, some jungle rhythms, 90′s rave minor chords, and even 909 for spice. This is Tom Jenkinson the way you love him. The six tracks totaling 25 minutes on the EP should make it up to all the disappointed fans as well. If you loved the Big Loada, don’t let this EP slip off your radar! For the acoustic side of Jenkinson, make sure you pick up Squarepusher’s Solo Electric Bass 1 released this past August on Warp.
– See also HC review of Just A Souvenir

Leave it to Australia’s Hidden Shoal Records to wrap us in a warm blanket of sonic threads. And this EP by an English ambient drone architect, Stray Ghost, is no exception. Anthony Saggers reconstructs resonant chords through their decomposition and back. Contemplation of space and silence is always at the center, as blurry field recordings move in and out of focus. During the ten minutes of Réminiscences Et Rêves De Beauté, the thick layer of vaporous sound descends from the speakers and drips on the floor. Fans of William Basinski’s The Disintegration Loops would feel right at home. This is the first release in a series of digital-only series, so make sure to grab yours directly from the the label. For more from Stray Ghost, pick up his latest limited edition album, An Avalanche Of Swollen Tongues, from Dead Pilot Records.

The founder and owner of the acclaimed American ambient and experimental label, 12k, releases a limited 7″ transparent vinyl that will make all drone heads drool. The digital edition contains an additional 23 minute Still Mix that in itself is worth obtaining. And on the two title tracks, Taylor Deupree slowly lullabies us with a gentle soundscape evoked by his own playing of e-bow, kalimba, harmonica, tambourine, claves, and an acoustic guitar. A light touch of an effect credited as “Cat Snoring” creates an auditory environment in which you cuddle and drown. This is a beautiful addition to all 12k connoisseurs. Oh, and did you get the Solo Andata release? It’s divine! For another timeless classic, be sure to pick up the 2009 release by Stephan Mathieu and Taylor Deupree titled Transcriptions from Spekk.
– See also HC review of Solo Andata

Love him or hate him, but you can’t let Venetian Snares simply pass in your peripheral vision. He comes at you strong, from every direction, with his insane rhythms that may only make sense when slowed down at a fraction of the original speed, and even then, what are those words that make me uncomfortable in all the wrong places? “Hey horse-teeth girl. I wanna make you make horsey noises.” It’s only Aaron Funk, tweaking it only the way he can, with Horsey Noises on Planet Mu. I can say so much about Funk, but must I really waste my breath on those unexposed to his sound? And are their innocent ears ready for the onslaught? Techno, breakcore, acid… Stir it up and drink it raw. And if there is no heartburn, follow up with Filfth – his last full length on Warp in 2009. And don’t forget Rossz Csillag Alatt Született!!!
– See also HC review of Detrimentalist

Well? Did you make it this far? Find something you like? Drop me a comment on here! Meanwhile I will ponder on covering my favorite compilations of 2009 before we get into the full final Best Of…

First up is a 22-minute limited edition mini-album from Benn Jordan (aka The Flashbulb) released by his own label, Alphabasic. On Louisiana Mourning, Jordan picks up his guitar and strums gentle acoustic chords in dedication to his friend, the late Charles Wesley Cooper, one half of Telefon Tel Aviv, who sadly passed away in January of 2009. Born and raised in Louisiana, Charlie’s death had a massive impact on the music scene, and in particular the Chicago community. Lousiana Mourning reflects the feelings expressed by Jordan during the eulogy of his lost friend, and serves as a timeless memorial of his short and fruitful life. This is as sad as it sounds. Some beautiful string work on here by Chihsuan Yang and Greg Hirte.
– See also Two and a Half Questions with Benn Jordan and Pale Blue Dot

In April, Evan Bartholomew released his highly anticipated full length on Aleph Zero, as Bluetech, titled The Divine Invasion. That was followed up with a Honey In The Heart EP on the same label in June. And a few days later we got this Call of the Wild EP on Autonomous Music as a free digital release. This 5 track EP of downtempo, breaks, and psybient sounds approaches almost the 30 minute mark, as Bartholomew revisits some of his signature Bluetech moves. And yes, you did see that I said this release was FREE, so how can you miss out on these crunchy, chunky, and melodic tunes? Grab this release, donate, and then proceed to checking out the rest of the label’s offerings, like Emancipator, Ott, and Phutureprimitive.
– See also Two and a Half Questions with Bluetech and The Devine Invasion

In July, Bop (pronounced “vor” which means “theif” in Russian) has finally released his debut full length on Med School (sub label of Hospital Records), titled Clear Your Mind. But prior to that, he teased us with a 12″ featuring only two tracks, Song About My Dog, and Random Thoughts. The music that Alexander Dmitriev releases is some of the most amazing, melodic, and intelligent drum’n'bass I have heard to date. In a way, it defies classification and begs for its own genre. You’ve got the thick deep rolling bass, the glitchy clicks, and the melodic synth sweeps, that all get wrapped up into a micro-programmed solid beat. Both tracks re-appear on his full length that you must hear. I have yet to give the album a proper writeup this year. But if you’re a vinyl junkie, this one is for keeps. Also check out Universum EP out on Sonorous and his free Autumn Studio Mix.

In May, the music scene was abuzz with a new collaboration from Burial and Four Tet. It seemed that everyone was talking about two tracks pressed on black vinyl with just an etching of the suspects. What should one expect when you combine the skills of an early child of electronica, Kieran Hebden, and the previously anonymous face of a euphoric dubstep artist, unmasked to be William Bevan? You get just that – infusion of dubstep over silky rolling beats. The A-side’s Moth is the winner for me on this record, with its memorable minor chord hook, vocal echoes, and minimal tech-house beat. That single track alone deserves a full writeup, and I wish the duo would take this formula and create a full length album!

In March Christopher Stephen Clark slammed us with a 6-track EP following his 2008 release, Turning Dragon out on Warp. Whoah! Clark is not going to let up anytime soon! This was quite a teaser for his upcoming full length later in the year, Totems Flare. But with only the title track reappearing on the album, this is an EP to add to your collection of solid tunes! Dark punctuated electro and techno beats are accompanied by experimental twists and even Clark’s own distorted voice on a title track! Don’t let this one accidentally drop off your radar. Seriously sick stuff for the fans of this innovative artist that continues to push the boundaries. And it’s just getting better and better!

Following Volker Bertelmann’s (Hauschka) 2008 critically acclaimed Ferndorf album, we are treated to a seven-track 40-minute extended EP of previously unreleased material recorded for the Ferndorf sessions. And since I haven’t had enough of this Düsseldorf-based pianist, who prepares the piano by modifying the hammers and inserting foil between the strings, this is a perfect companion for my hungry mind. The string duo adds a nice touch to the melancholic and nostalgic melodies, making this one of my favorite modern classical EPs of the year. This one came out early in the year on FatCat, and as if that wasn’t enough, there is a 300-limited 3″ CDr on an evasive label, Secret Furry Hole, titled Small Pieces. While you’re there check out similar releases by Library Tapes, Machinefabriek, and Peter Broderick.
– See also Two and a Half Questions with Hauschka and Ferndorf

Leave it to Planet Mu to spearhead the edgiest of the genres. This year, Mike Paradinas‘ (µ-Ziq) label doesn’t slow down with its output of releases across the spectrum of evolving sound. And leave it to Alan Myson (iTAL tEK) to drop some of the heaviest hip-hop influenced nasty bass on the title track, Massive Error. Following his 2008 album cYCLiCAL, Myson gave out a free track, Double, that did not make it onto the release. But it is for Planet Mu that he seems to reserve his crème de la crop. This selection contains five tracks spanning wonky dubstep, grimey beats, melodic IDM, and even a deep bass four-to-the-floor stepper. Be sure to also grab his latest 12″, Mako, released on his very own label, Atom River.
– See also Two and a Half Questions with iTAL tEK and cYCLiCAL

This mini album, limited to just 1000 copies, was only sold while Jóhann Jóhannsson was on his US tour. At under 37 minutes, the eleven tracks are taken from the Jóhannsson’s award-winning score for Marc Craste‘s animated film Varmints. Here are gentle strings and beautiful modern classical piano arrangements wrapped in light electronic processing that Jóhannsson is known for. His 2008 release Fordlandia left many critics in standing ovation. And this short soundtrack does not disappoint. The production is top notch with a performance from City of Prague Philharmonic Orchestra and Chorus, and beautiful ghostly vocals from Michaela Srumova. Released on NTOV Phonoautogram, this is a must have for every fan. And you’ve got to see the animation! Here’s the trailer.
– See also Headphone Commute review of Fordlandia

Six Silicates is yet another gem from Jamie Watts (KiloWatts). Besides the fact that it tickles all the nerve endings of crunchy IDM receptors, this six track EP is absolutely FREE – it was released on a donation basis. Here are all the colors of Watts’ style – tight punchy beats, atmospheric swirls, and glitchy elements of soaring melodies. For 42 minutes, you will be entranced with a slight hint of ambient psychedelia, digital euphoria, and intelligent production. This EP is also co-released by one of the leading net-labels, Kahvi Collective and is available in a mixed form as a podcast. Be sure to also check out Watts’ recent ambient work, Undercurrent released this summer on Somnia Sound. Favorite track – Quartz.
– See also Two and a Half Questions with KiloWatts and Undercurrent

I don’t know what Ghostly is thinking, but the label is definitely heading in the right direction. Their recent signing of Scott Morgan (Loscil) demonstrates that they’re interested in exploring all depths of music, including its surreal ambient branch. The last time I checked, Morgan released Plume on Chicago’s Kranky label back in 2006. And it seems that he’s back with this three track digital EP. I can only hope that these minimalist and cinematic compositions, spreading over the soundscape like a cold textured cloud on a hot hazy day, are a prelude to a full length album by an artist whose alias is derived from a “looping oscillator” function. This is seriously delicious. Be sure to also check out Loscil’s free digital release, Stases, out on a Canadian “yet another netlabel”, One.

Once I got through reviewing the first half of EPs and singles, I realized that this article probably needs to be split in half. Point your clickers here and move on to 20 EPs of 2009 [part 2].

A bridge between their first album on Planet Mu and the forthcoming second one on Ad Noiseam, the “Mutations EP” is The Kilimanjaro Darkjazz Ensemble’s coming of age. Profound and organic but dark and impressive, it is a perfect rendition of the ensemble’s live shows and the proof that there is still something fresh to be done at the meeting point of post-rock, jazz and drones. A deeply emotional and original trip.

At only 40 minutes long, the eight-track EP is a profoundly mature collection of abstract and experimental jazz riffs that get the heart pumping with anticipation of buildups that break into cinematic soundscapes of beauty. Like an abandoned farmer’s house in a post-war eastern european silent film, the evoked environment of sounds is a little eerie and at the same time melancholic. I’m especially impressed with the jazz drumming by Gideon Kiers that lightly gets processed through FX. The above mentioned Jason Köhnen strums the fretless and the double bass, while the beautiful Nina Hitz works the cello.

This is a serious record worth being promoted to an LP. With Succubus just hitting the streets in June 2009, the upcoming Here Be Dragons album is currently being mastered, and is due to be released sometime in September 2009. I’m glad that the ensemble’s live performances could be rendered on a recording for a headphone experience – I only wish that I could catch them live next time they’re in town. Don’t forget to grab that Succubus! Recommended if you like Jacaszek, Blackfilm, Deaf Center, Triosk, Bersarin Quartett, Skalpel, and Kashiwa Daisuke. Other noir-jazz and experimental jazz groups to check out: Bohren & der Club of Gore, Kammerflimmer Kollektief, Dale Cooper Quartet & The Dictaphones, and Contemporary Noise Quintet.

myspace.com/tkde  |  tkde.net
myspace.com/adnoiseam  |  adnoiseam.net

Helvetica is Ryan Lee West‘s second EP on Erased Tapes released under the Rival Consoles moniker. In only four tracks, the record is enough to grab your attention with delicate classical piano arpeggios, IDM influences deriving from the catalog of Rephlex artists, with acid bleeps, breaks, and beats palatable to fans of the above mentioned V-Snares, Aphex Twin, and Boxcutter alike. Yes, I can honestly admit that I’m excited about this artist, because all of these cutesy frequencies are skipping right down my alley, past the puddles of tears and walls punched with mud. Playful, adventurous, and confident, the tracks produced with intricate attention to detail, are only a teaser for the things to come from this Leicester (UK) based producer.

The 7-inch vinyl is quickly selling out (already out of stock on some places I checked), but is still available directly from the label; and then of course there is the [mandatory] digital release. Be sure to also get your hands on Rival Consoles debut release, The Decadent EP (Erased Tapes, 2007). And don’t forge to pick up the label’s digital showcase compilation, commemorating its 1st anniversary, where, besides the track that tipped me off, Ryan Lee West contributes a remix and yet another track under his alter ego, Aparatec. Remember, it’s free! Jump on this wagon. Quick!

myspace.com/rivalconsoles | erasedtapes.com

Spacey, euphoric, and melancholic – the sound of Where We All Fit In falls somewhere between downtempo and IDM. In fact, Spleen defines the style himself as melantronica. But it’s not just sadness that saturates this four track EP. In many places it is up-beat, light-hearted and breezy, perfectly fitting on an appropriately named label. Spleen is the solo project of Antwerp (Belgium) based Lennart Vanstaen. His musical influences include Radiohead, The Album Leaf and a roster of Icelandic musicians like Sigur Ròs, Björk and Mùm. Mentioning those artists should give you a rough idea of Vanstaen’s influenced style.

It’s easy to imagine this music accompanying a film, a lonely commute, a soundtrack to a passing life. In fact, Vanstaen has collaborated with Sophie Vanhomwegen to produce a soundtrack for a short film, Whatever Floats Your Boat, which was selected for the HDFEST film festival. This EP is Spleen’s second release on Summer Rain Recordings. His previous contribution was 6 Moons Ago EP released in February 2008.

[I want to make a quick note, that Lennart Vanstaen's alias Spleen, is not to be confused with Miro Merlak's Spleen, who released a self-titled electronic album on Phthalo Records in 2001].

myspace.com/visitspleen
myspace.com/summerrainrecordings | summerrainrecordings.net

On this three track EP with an additional two remixes by Innasekt (Sneer and Sully) and Pacheko (Francisco Mejia Szilard), you can expect to hear clear influences of Garbàn’s edgier side, grinding with those nasty sawtooth riffs through concrete onslaught of deeply resonating dark and dirty bass wobbles. The memory breaching melodies and hooks are screaming to be released onto the dance floor. With a saturation of dubstep tracks on the market, it’s very difficult to pick out the standout tracks in the crowd. But you can be sure that Cardopusher’s addition to the collection will be permanent. It’s no wonder that Thom Yorke (yes, the one of Radiohead) included a remix of Cardopusher’s track on his weekly music chart.

While grabbing this colorful digipack from Spectraliquid, make sure to pick up the first volume in the series, kicked off by none other than Ebola (Ben Hudson). This is turning out to be a rather nice selection of releases from the predominantly breakcore influenced artists, and I’m looking forward to the volumes to follow. Meanwhile, be sure to pick up Cardopusher’s second LP, Unity Means Power, released on brand spanking new Murder Channel Records.

myspace.com/cardopusher | cardopusher.com
myspace.com/spectraliquid | spectraliquid.com

The last track, titled Slow Acid is a favorite of mine. This needs to be turned up much louder to hear all the tiny little white noise melodies in the background, while the AE kick progresses forward in a steady beat, and the common acid-house chords are choked up beyond comprehension. Sub woofer required. The artwork contained in the sleeve of the record is a special bonus. Another testimony to why records can offer just a little bit MORE. The insert is a two sided glossy print featuring a digitally modified image of trumpet, or perhaps a polished motorcycle exhaust pipe, creating an astonishingly bizarre brass instrument, the likes of which could only belong to Booth and Brown.

The CD version of the record has a bonus track, titled Megamix. This is a 15 minute Gescom concoction which was originally featured on BBC Radio One’s show when they did a Skam Records label profile. Here, the metallic rhythms and bit-crushed patterns are continuously looped into tiny fragments. I can only speculate if all the pieces are from previous Gescom releases and if it was performed live by sliding the loop window over an area of some track(s). Only like Autechre.

myspace.com/skamsmak | skam.co.uk

First up is a remix by The Sight Below, a Portland based ambient-techno artist who just landed a deal with Ghostly International. His melding loops accented by the riding beat will keep the Gas fans happy (see my separate review on his No Place For Us EP). On Violet of Ultra Neotropic Remix, Riz Maslen (appearing on Ntone and Ninja Tune), blends organic instrumentation with machine-like rhythms and needle skips vis-à-vis Radiohead’s darker tracks, adding her own vocals (an English translation of the original) into the mix. Spandex’s (Matt Southall) treatment of Ultravioleta, brings it closer to the dance floor, with a minimal techno beat and a touch of electro, packed in the Kompakt container (for some reason I’m picturing Eric, the yellow puppet, nodding his head to the Flat Beat of Mr. Oizo in Levi’s commercial). Finally, Bevan Smith (aka Signer) wraps it all up with a convoluted twist of an ambient soundscape paired by a deep bass pulse. Signer is known for his releases on Carpark and his own label, Involve; he also records under Skallander with Matthew Mitchell for Type Records.

All in all, this is an interesting collection of remixes where each one shines in its own domain. And as such, it is difficult to encompass all tracks within one writeup. But back to :papercutz. Ultravioleta Rmx’s EP should wet your appetite for his upcoming debut album on Apegenine. And I’m looking forward to the day it hits the street.

myspace.com/papercutzed | papercutzed.com
myspace.com/apeg | apegenine.com