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Akode – North And South


Akode - North SouthIt’s a truism that free jazz and all manner of improv is best appreciate live, rather than on record, as it is when in front of an audience that a quartet such as Akode really come into their own. North And South therefore comes from that other great tradition of such music by being an oustanding record of one such outing, captured at Café OTO in London in 2014.

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Niels Lyhne Løkkegaard – Sound X Sound: Music For 15 Shakers; Music For 18 Clarinets; Music For 16 Triangles; Music For 10 Hi-hats


Having released the first three 7″ singles in the Sound X Sound series over the space of just over a year, Niels Lyhne Løkkegaard has progressed to delivering the last four discs in the set at the same time, nearly two full years after the first appeared. Following the well-established format of the initial run, the final singles consist of Music For 15 Shakers, 18 Clarinets, 16 Triangles

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Dirk Serries – Microphonics XXVI-XXX : Resolution Heart



Dirk Serries - Microphonics XXVI-XXX Resolution HeartThe final instalment in Dirk Serries‘ long-running series of releases, Resolution Heart sets a fittingly uplifting mood for the end of a process that started with the first Microphonics CD in 2008.

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Swans / Anna von Hausswolff (live at Paloma)

Nîmes 2 November 2016

Anna von Hausswolff live October 2016Utilising a 12-string guitar, an array of keyboards and driving, cursive songs belted out like both Dead Can Dance and This Mortal Coil gone epically, darkly coldwave, Anna von Hausswolff and her band combine big, beating drums with a desert swing and a huge bass swell charged with evocative dread.

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Spectralate – All Terrain Badgers

Turquoise Coal

Spectralate - All Terrain BadgersSpectralate‘s second LP finds Annie Pye and Alan Holmes (Ectogram, Parking Non-Stop, Fflaps, The Groceries, etc) embarking on a musical journey around Ynys Môn (also known as Anglesey to Anglophones), and it’s interesting to ponder briefly if the All Terrain Badgers of the title refers to beasts they encountered en route (whether real or imagined) or metaphorically to the duo themselves.

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Lucifer – Black Mass

Black Mass Rising

Lucifer - Black MassCanadian composer Mort Garson stands among the likes of Jean-Jacques Perrey and Wendy Carlos as one of the more interesting innovators who explored the weirder extremes of popular music with the aid of the Moog synthesizer from the late 1960s on into the next decade and more.

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Glenn Jones – Fleeting

Thrill Jockey

Glenn Jones - FleetingUsing unconventional tunings for both guitar and banjo, Glenn Jones‘ latest exploration of the texture and tone he can wring from five, six strings and more cements his deserved reputation as one of the singular exponent of both instruments.

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K-X-P – III, Part II


K-X-P – III, Part TwoAnnouncing its arrival in a trill of shimmering digital FX and a pounding rhythm, the second instalment of K-X-P‘s third album heaves into audibility with all the bombast and finely-tuned ear for a hook which the band have perfected over their last few releases.

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Niels Lyhne Løkkegaard – Sound X Sound: Music For 30 Chromatic Tuners


Niels Lyhne Løkkegaard - Sound X Sound: Music For 30 Chromatic TunersThe second in Niels Lyhne Løkkegaard‘s Sound X Sound series of 7″ singles, Music For 30 Chromatic Tuners follows on from Music For 8 Recorders in similarly trilling style. Where eight recorders together made for a sometimes gritty listen, Løkkegaard’s choice of not-quite instruments here leads him down somewhat different pathways.

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Cozmik Onion Express 2.91414 / Sculpture / Yuki Tsujii (live at New River Studios)

London 16 September 2015

Out on the margins of London’s more fashionable postcodes, things are brewing and ticking over quietly to themselves once again. One such night of music and more takes place in the calmer reaches of Manor House in the unhurried Bohemian environs of New River Studios’ performance space, filled for the evening with Reuben Sutherland‘s engrossing video projections. As the audience begins to trickle in, Reuben blends and stirs his various liquids into a suitably cloudlike backdrop, providing suitable echo to the deluge of autumnal rain which passed through the city earlier in the day, soaking and saturating everything in its path.

Yuki Tsuji at New River StudiosYuki Tsujii opens his solo performance with meandering guitar as recursive as the bends of the swollen New

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Stephen O’Malley ‎- Gruidés


Stephen O'Malley ‎- GruidésWhile probably best known for making the earth tremble beneath heavyweight drones from the likes of SunnO))), KTL and Gravetemple while also rocking hard in both Thorr’s Hammer and Goatsnake, Stephen O’Malley is also the guiding hand behind the Ideologic Organ imprint of Editions Mego, releasing a treasure trove of avantgarde, experimental and electronic music both old and new. So it was with these latter activities in mind that Frédéric Blondy, artistic director of l’Orchestre de Nouvelles Créations, Expérimentations et Improvisation Musicales (ONCEIM), approached him to compose a work for the ensemble to perform.

The resulting piece was recorded in the ancient environs of the Église St Merri in the heart of Paris (itself home to some of the less raucous events of the city’s annual Sonic Protest festival) by Augustin Muller of the neighbouring IRCAM, and appears

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Acid Mothers Temple & The Cosmic Inferno / Gunkanjima (live at Festival MIMI)

Hôpital Caroline, Marseille 5 July 2015

Festival MIMI has been bringing all kinds of innovative, avant, experimental or just plain far-out music to Marseille for thirty editions to date, and for the last fifteen years its annual home has been in the splendid isolation of the ruins of the Hôpital Caroline on Ratonneau, largest island of the Frioul Archipelago, just off the coast and in sight of both the city and the more famous île d’If.

Festival MIMI 2015There’s plenty of anticipation built up in the sweltering wait in the Vieux Port in Marseille for the ferry boat — which is the only way to get to the festival — and then on the bouncing ride across the deep blue sea to the islands.


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Ben Zimmerman – The Baltika Years


Ben Zimmerman - The Baltika YearsRecorded over the space of ten years up until the early part of the current century, The Baltika Years gathers together a selection of recordings that Ben Zimmerman made almost entirely from samples he manipulated using software running on the now long-defunct Tandy DeskMate computer operating system.

Working around and within the limitations of the music software available on DeskMate (such as 22 kHz 8-bit audio), Zimmerman recorded a range of compositions, some lengthy (the side-long “Phyllis” on the first disc) and others ranging from half a minute to five minutes at the most. Lurking behind the haze of tape hiss and lo-fi digital sound sources is a collection of surprisingly bright music which operates somewhere at the interface between

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Swans (live at The Roundhouse)

London 21 May 2015

Swans live at the Roundhouse– The Conscious Pause –

It is daunting to write about a show that was attended by so many Freq contributors because I know they’ll all read this and I am sure they will all have things to add (or deny). But what does that matter? It is daunting to write about a Swans show, because – Swans –

This was my second time at a live Swans show. And of course as I write that I realise live swans makes it sound like some Tudor feast centrepiece and really that’s not it at all. I had forgotten I was even going until last week, although perhaps that’s not quite accurate — it hit me last week that the show

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Alan Courtis / Aaron Moore – Bring Us Some Honest Food

Dancing Wayang

Alan Courtis / Aaron Moore - Bring Us Some Honest FoodThe third album turmbling forth from the fertile pairing of Alan Courtis (Reynols and more) and Aaron Moore (of Volcano The Bear, Dragon Or Emperor, Invisible Sports, Textile Trio, etc) follows on from the phonographic slurs of last year’s KPPB with four new tracks which find the duo pushing further at the avant-garde fringes of ludic surrealist interplay.

For Bring Us Some Honest Food, while the post-production of each side of the LP was undertaken remotely in Brooklyn and Buenos Aires respectively, (as with their first two albums), Courtis and Moore recorded their music for the first time together in a studio in London. This serves to give the album a heightened sense of

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