It’s been knocking around for a few weeks now, but this mix by Planet Mu boss Mike Paradinas for Self-Titled magazine is excellent - an atmospheric exploration of the synthier, less footwork-orientated end of Mu’s current trajectory. Definitely worth a listen.
Source: SoundCloud / selftitledmag
Infinity Shred - EP001 (Gnar Dream)
This week saw the release of the new EP by Infinity Shred (formerly Starscream). I was lucky enough to see them live in their previous incarnation at last year’s Blip Festival, and they were sensational, conjuring other-worldly soundscapes out of nothing but a Gameboy and a drum kit. Under the new name, they’ve gained a member as well as a thicker, lusher sound that nevertheless acknowledges its lo-fi roots. A sensational record, EP001 deserves an audience far beyond the chip scene, and will probably find one. Buy it now for a measly $4.
For this week’s Weeklybeats, I made a totally over-the-top end credits theme to an 80s thriller. The Prophet 5 sounds were all emulated in Reaktor, and sequenced in Renoise.
Source: SoundCloud / Matt Nida
For this week’s Weeklybeats track, I decided to do a homage to John Carpenter. I think it turned out alright. This was made entirely in Renoise.
Source: soundcloud.com
Letterboxd
Letterboxd is a superb new social network for film fans that allows you to keep a diary of films you watch and share recommendations with friends. I’m attempting to review every film I watch up there - you can follow me at the link above. I occasionally have invite codes - drop me a line on Twitter if you need one.
Album of the year so far - a mind-expanding, epic dreamscape that’s completely unlike anything else I’ve heard in ages. Get it now at Bleep.com.
Death Waltz Recording Company
The Death Waltz Recording Company is a new label founded by Rough Trade East manager Spencer Hickman which will release cult movie soundtracks on vinyl. The first two releases are John Carpenter’s Escape From New York and the holy grail of italian horror scores, Fabio Frizzi’s Zombi 2. If you’re anything like me, you’ll want to get on this now.
Orbital: Wonky (2012)
Many of the reviews of Orbital’s first album in eight years have taken a sniffy tone, treating the Hartnoll brothers’ age as a proxy for their relevance and suggesting that they have neither the contemporary importance of, say, an Actress, but equally none of the elder-statesman gravitas of a Roedelius. Maybe this will change in another decade, but Orbital have always thrived on being slightly out of kilter with contemporary expectations - grafting cinematic grandeur onto stripped-down acid house, playing techno to rock festival crowds, recording a breakbeat version of the Doctor Who theme, and so on.
