Ike Yard

Ike Yard is the trio of Kenneth Compton, Michael Diekmann and Stuart Argabright. The project formed way back in 1979 in New York. With their sole self-titled LP (also, erroneously, known as A Fact A Second) which was to be the only release on the American offshoot of Factory Records, and a handful of EPs, they managed to influence a whole stream of future producers within various musical realms ranging from noise to synthpop. Never flirting with the mainstream, Ike Yard crafted their own synthesis of gloomy and deep post-punk, merged with prototechno krautish repetition and solid, fast-paced, heavy rhythmics, which predicted the amalgamation of techno and industrial music to come much later. It is hard to believe that their only LP was released in 1982, because it sounds so fresh and timeless. It’s particularly relevant now that the cycle has turned and wider audiences began to re-embrace the more leftfield and experimental corners of post-punk. Thus Ike Yard made a bunch of re-releases via Desire Records. Last year they dropped the Sacred Machine EP on Noiztank – a thickly noirish and densely atmospheric work, proving that they are still capable of bringing their sound to new frontiers. This year the trio will release a new LP and we are really excited to hear what they are up to this time.

STM 261 consists mainly of the present-day influences of the band and includes two previously unreleased tracks from the upcoming album. The dynamics of the mix recall the progression of a storm with light tension, drama and melancholy in the beginning and a heavy rhythmic attack later on. Ryuichi Sakamoto’s piano from his latest Async is the soft denouement. The storm association is further enhanced by the first track by Tropic Of Cancer – a hazy coldwave gem, I Woke Up and the Storm Was Over. It is nice to observe how smoothly the sonic setting changes from the cinematic chamber lushness of Temporary Residence artists to the refined punkish rebelliousness of Phew. In the second half we have SØS Gunver Ryberg’s controlled industrial techno madness and Zamilska’s rich bass, but the most exciting part are the aforementioned tracks by Ike Yard. K55 is the bursting climax of the selection, exploding with turbo-charged rhythmics, while Beyondersay is a more eclectic affair showcasing a more abstract and improvisatory side of the project.

In the records

Ike Yard on the mix

Following the multiple styles on last year’s Sacred Machine EP on Noiztank, the group concentrated on finishing the walloping electro, swinging pummeling beats and blasts of the new album Rejoy due by year end again on Noiztank. Then we got a chance to do this special mix for Secret Thirteen. In which we hear mostly somewhat recent music, explorations into deeper spaces and times as well as reflections in changing time, tech and speed.