SELECTED BY Daphne / In Limbo (28-12-20)

WAV’s ‘FROM OUR WAVE TO YOURS’ is a various and ever-expanding selection of favourite tracks, albums, labels, artists and more, put together by the WAV team and family. You can call them charts, or staff picks, but we like to refer to them as WAVES, connecting us to you and back. We love music, we want to share what we love, but we don’t assume that sharing should be at the expense of the artists. That’s why we link all our WAVE-lists to the bandcamp pages of the artists or labels (if they have one), and that you can view our evolving selection on our WAV’s Buy Music Club Page.
If, in doing so, we can raise more awareness about properly compensating the music makers, then we consider ourselves a little closer to riding the perfect WAVE.

This is a selection by Daphné / In Limbo

 

Get it at Bleep

Following the 2019 Hands in the Dark re-issue of Josiah Steinbrick’s debut solo recording, the Los Angeles based multi-instrumentalist, producer, and composer returns with “Liquid / Devotion & Tongue Street Blue”, to be jointly released on the 18th of September with his Full Bloom imprint.

A vibrant collection of cinematic pieces that drape tapestries of FM synthesis and percussion around serpentine bass lines, the album unfolds like a rapturous dream. Hushed laments, ecstatic rhythms, and hypnotic arrangements induce a state of reverie, where boundaries dissolve between fading memories, illusions, and the hyper-real.

“Liquid / Devotion & Tongue Street Blue” is a potent creative offering, and marks a breakthrough in Steinbrick’s personal approach to the studio.

Taking reference from the rave energy that has passed through decades of UK dance music and combining influences from harder, noisy, industrial tropes that carry a similar raw approach, Ploy (Timedance, Hessle) delivers his debut LP “Unlit Signals” for L.I.E.S. Records.
Across these eight tracks we move through contained intensity and stifling darkness met with flashes of light and space, reflective of the darker pockets of the grubby dance floors of which this record is aimed at.

Eva Van Deuren has been wayfaring as Orphan Fairytale for the past 15 years and counting. With her electronic psychedelia that deftly teeters between the bubbly and the eerie, Van Deuren is a prolific presence in our spheres and her music is a constant which irrefutably touches and enchants all those who encounter it. Over the past few years she has integrated the Celtic harp into her repertoire, crafting new sounds that seamlessly meld into the narrative of her unique sonic trajectory.

Tune In Tree Ears, Orphan Fairytale’s first LP on KRAAK, presents these harp pieces that were first heard in the context of open air concerts in the summer, where the delicate melodies could float into the trees above and soar beyond to spaces unhindered. The ancestral character of the instrument adds new depths to an already complex musical universe that has always embraced tragedy and fantasy in equal measures. A bridge between the electronic elements that always defined her sound and a new direction born from a deep connection with earthly elements, Tune In Tree Ears brims with a wistfulness that uncovers new directions in Orphan Fairytale’s ever-unfolding dream world, allowing it to flourish through the natural extension of paths already paved. Released in tandem with Titania Moon, Orphan Fairytale’s latest hippietronic venture on Ultra Eczema!

+ Titiana Moon – Orphan Fairytale – vinyl or digital – Ultra Eczema

 

In the horror genre, sequels are perfunctory. As the insufferable film bro Randy explains in Scream 2, “There are certain rules that one must abide by in order to create a successful sequel. Number one: the body count is always bigger. Number two: the death scenes are always much more elaborate—more blood, more gore. Carnage candy. And number three: never, ever, under any circumstances, assume the killer is dead.” Last Halloween, Los Angeles experimental rap mainstays Clipping ended their three-year silence with the horrorcore-inspired album There Existed an Addiction to Blood. This October, rapper Daveed Diggs, and producers Jonathan Snipes and William Hutson return with an even higher body count, more elaborate kills, and monsters that just won’t stay dead.

 

The second outing in the CiM re-issue program is his debut Delsin EP dating from 1999. With ‘Service Pack’ Simon Walley subtly moved away from the dancefloor, creating a pack full with ear tickling and mind twisting electronica. Pure bliss.

 

Abstrakce is really excited to finally present one of the most rare, interesting and difficult to find of Carl Matthews´ cassettes on vinyl for the first time and remastered by Colin Potter.

Composed and recorded at his own home studio in1991 and influenced by Harmonia and Cluster, Matthews developes a really personal project. A very delicate usage of rhythm machines, samplers, sequencers, e-bowed guitars that show up briefly hinting at a lo-fi Innovative Communication feeling… The capricious nature of these experiments opens many different doors of wonder to the curious heads, easing deep listening away from clichéd Berlin School, New Age or Krautrock -the most obvious reference points here-, into a foreverland of non academic modernism, where to take shelter and briefly vanish.

Quiet but not static, mellow but not too new agey and trippin’ but not too trancey, this music finds its own space and character in the world of home recorded electronica. A true jewel of the european electronic underground.

Steering away through an independent countercurrent from the most pompous and overtly atmospheric alumni of the Berlin School, and the far out yoga classes from New Age, but still very psych militant, we get the concise and thorough sound of “Fluido Tiempo”. Through sort-of-short tracks we unveil possible references such as JD Emmanuel or Amoon Düül taken to realms such as urban commuter trance or empty city vagabondage. Subterranean electronic synthesizer music is well known for its penchant for the loner, the living room wanderer and the night tripper but it has rarely seen a proposal this emotional. Deeply imbedded in the fertile in radical ideas Cassette Culture, Sima figures out sounds to communicate human emotions such as melancholy, uncertainty, absence or loss.
This first reference by Paco León’s solo alias -he usually practices kosmische gymnastics with his band Güiro metts Russia- is a very nice surprise that will delight Cortini or Fitoussi fans.

 

Back in the days when the contentious term ‘folktronica’ was being fought over, legitimate genre tag or not, the music world was grappling with the groundswell of musician-producers surging acoustic guitars with the uncannily jolted approach you’re likely to hear from an electronic artist. Bibio, the one-man project of Stephen Wilkinson, appeared to be at the forefront of such a stylistic misnomer, and while the organic finger-picked compositions of his breakthrough second LP, 2006’s Hand Cranked, is undoubtedly folk-oriented in the vein of Robbie Basho or John Fahey, while simultaneously sounding completely other; a musical-anthropological folk study shot to Earth from the dark side of the moon, or extracted from an alternative dimension time capsule.

The LP’s opening track ‘The Cranking House’ has precisely this anachronistic, out-of-time quality; a circular acoustic guitar pattern propelled by a cacophony of winding tones, doubly transformed into a warm, organic piece by a studiedly lo-fi recording method. ‘Cherry Go Round’ too begins this way, as a hypnotic looped guitar sample spins a modest yarn invoking long ago Summers, viewed through the sepia-tone gaze of a past life. This is music of antiquity, reimagined as the future of guitar music.

Released via Warp, Hand Cranked demonstrates that Bibio’s unique melding of folk and electronic music was unquestionably apparent from the very outset of his storied career.

Available at Bleep