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Human Heads are an electro-pop sprechgesang duo from Glasgow. Human Heads deliver a whopping sensory twofer; a vial of fragrant oil for your proboscis and six doses of throbbing-synth-extrusions and poetry-speak-sung for your inky flappers. On listening, it’s the overall heaviness what mugs you first – narrative and synthetic. ‘You shouldn’t have met’ is a slice of crafty street recording, school kids on the blab rapping on death, that’s soon dive-bombing deeply like Sabbath picked up a couple of Korg SB-100’s rather than them dirty guitars. As the tracks unspool we follow stories (possibly reflections, possibly prophecies) on the full-body foxtrot and crucifixion. Pixelated piano is preceded by the delighted squeaking of a small child, a train’s rhythmic rattle and Scott Joplin’s entertaining hands. R.D. Laing is in a nostalgic mood so things end with the sort of dry-rot clunk Kanye would have chipped a tooth for on his self-titled Yeezus opus. --- Ben Ellul-KnightHannah Ellul --- They reverberate,they also absorb dregsthat came from our teenage diversionsCold and stony, the rubbery shadowBrought to lifeWith a whiff of a dank man-made holeAnd now a brightnessFeels higher and more determinedFuller now, gathering to block out extraneous letters, sightsMy own fingers trawling and trailinglips overstretchedRid the flavours from the mouthA narrative fading - goodMetallic churning // reaching out,receding again and overlaid with a negative etchingTryingA breathing cogNot circular but returning// familiar but not minea sweet spot between nape, pit, popper, pear //TryingA breathing cogNot circular but returningDo it with your eyes closedForA sweet spot between now, then, the rear of a dreamTrapped Doppler,Metal is cooling, becomes corkyLips overstretched, adjective snatchedSucked and blownTo reach equilibrium //Thinly domestic nowA drawn out teeter I can no longer perceiveBut it came from somewhere massive and hardA slow shock// A pattern cut from a metal sheetand now it’s on the movelays itself down over spoken undulationsuntil they form a new pattern, called a beat //received, pressing, driving,old and flammablesneaked up from within a refrigerated boxanother slow, pleasant shockThickly domestic now as we sinkSurvey the scatterManipulate the jointTiny and early, the echo ate its tailRebecca Wilcox --- Fractal Meat Cuts, 2021

human heads – in the afternoon

Issued somewhere between Mica Levi’s emergence in 2008, and their recent gush of solo and band releases with Curl and Good Sad Happy Bad, Mica wrote and recorded ‘Feeling Romantic Feeling Tropical Feeling Ill’ around about the time they were receiving award-nominations and resounding acclaim for their soundtrack to Jonathan Glazer film, ‘Under The Skin.’ Naturally it shares some of that OST’s tones and moods, but the results are far more febrile, lush rather than dark and tense, stitching together a tapestry like mixtape-cum-production showreel of curdled chamber pieces, shrugged hip hop, ambient flights of fancy and gorgeous snatches of strings recalling the intervals of Carl Craig and Derrick May’s seminal ‘Relics’ set going into what sound like early sketches for what would become Tirzah’s ‘Devotion’ album a few years later. Replete with new, minimalist artwork symbolic of the album’s enigmatic nature, the record’s second wind is arguably ideally timed for the world’s current state of torpor and tentative anticipation, with 60 minutes of figurative, quietly perplexing, evocative melodies that work by inference as opposed to ever beating you around the head with a message. It’s peppered with some exquisite, often unexpected moments that arrive and recede into its matrix with uncanny logic that perhaps comes as close as you’ll get to living inside Mica’s iridescent, endlessly intriguing mind. --- DDS, 2021

MICACHU – Feeling Romantic Feeling Tropical Feeling Ill

Leila Hassan and Francesco Cavaliere’s Sea Urchin blow new age kisses and woozy thought bubbles about Egyptian martial arts in a Arabic and Italian over crimped cubist computer dub and ambient styles   Tahtib is food for your mystical post-exotica musical landscape - hand drums played by computers fall with a squelch into the swamp, horses neigh at dub bassists, there’s water everywhere full of urchins and tarot cards and just when you think you need to breathe this record breathes for you. Tahtib’s future ambient glyphs are matched with the rapid-fire staccato "taks” of imaginary tahtib sticks (tahtib is an Upper Egyptian martial art which was enjoyed and practiced by Leila's grandfather Baba Aly). Leila Hassan sings seamlessly between Arabic and Italian (and possibly more) breathing pure soundart alchemy across Francesco Cavaliere’s library of sound effects and textures. You remember Sea Urchin? They added their signature aquatics to Osaka-native 7FO’s 7” for Bokeh back in 2017. The duo of Leila Hassan and Francesco Cavaliere debuted a totally unique expression of ‘library music as future music’ on a series of small run cassettes before their proper debut LP Yaqaza was released on legendary Belgian imprint Kraak (Pan American, Limpe Fuchs, Typhonian Highlife). This caught the ear of Bokeh designer svengali Patrick Savile, who adds his vision to the LP cover. Francesco has also released solo explorations on Hundebiss (Kelman Duran, Lil Ugly Mane) and Edições Cn (Dolphins Into The Future). --- Sea Urchin are Leila Hassan and Francesco Cavaliere Recorded and mixed by Francesco Cavaliere Design by Patrick Savile   ---   Bokeh Versions, 2019  

Sea Urchin – Tahtib