Echoic Memory This self-financed five-tracker from Stereocilia nails you to the spot cinematically. The sun-caught melodics of “River” holding you hostage with its Basho/Fahey sense of openness and fertile flourishes, as does that dissolving warmth in the loopage that emotionally flies off the handle at any given point.
Bureau B Back in 2012, Dieter Moebius was asked to score Fritz Lang‘s Metropolis and for that purpose produced some pre-arranged tracks to be played during the film which along with some live improvisation would suit the film as he saw it. One imagines that this would have been a roaring success, and therefore he had intended to prepare a recorded album of the results.
Disco Gecko After some wonderful reissues of classic albums with a plethora of extras, here is Banco de Gaia’s long -awaited new album; and typically the sound of this album moves off into different directions that Toby Marks may have only touched upon before.
Karlrecords The classic thing to say about Iannis Xenakis is that he’s fairly close to being sui generis. Oftentimes, that’s the sort of compliment that can feel fairly weak — which is to say that there’s not a musician operating that doesn’t think they’re not sui generis, but the majority of them are wrong.
Trace It has been nearly twenty years since we first marvelled at the extraordinary sounds and textures that three gents could elicit from bass guitars. Catching them in support of Appliance was a revelation and following Mark Beazley‘s mercurial career has been both fascinating and frustrating. I haven’t heard much since the Stateless solo album, but 2016 saw the delivery of not one but two albums.
Nefarious Industries So the main reason I picked up this record for review is because I think that it’s the responsibility of the writer to pick up things for spurious reasons. The reason I will never review, or listen to, Jaga Jazzist is because the name is terrible. Bangladeafy is an awesome name.
Freaksville This comes from a world that feels very familiar to being a teenager listening to indie radio, but also not. There was a lot of this kind of stuff around — retro-ish fetishists for ersatz ’70s string arrangements and Rhodes pianos
London 13 December 2016 Boris are back! One of Japan’s finest rock bands are back in town to celebrate the tenth anniversary of their crossover hit album Pink, by… well, by playing it, obviously! But first we get The Broken Oak Duet, who I don’t want to sound too mean about, because they kick out quite a noise between the two of them. They’re ; their real problem […]
London 15 December 2016 Winter in Britain in 2016 is grey, dreary affair, the trains are on strike nearly everyday, the post office is on strike and now you can’t even get away from it all as the staff on the airplanes are on strike. What is needed is the wonderful colourful psychedelic landscapes that only Purson can create to brighten up a dull winter’s day. There is, however, […]
Essence Music Recorded as part of a travelling art exposition of the same name, the sessions released as America Here And Now finds Expo Seventy in a rare four-piece configuration, mainstay Justin Wright joined for the sessions recorded in Kansas City by Aaron Osborne of Monta At Odds and Mysterious Clouds on bass alongside drummers Mike Vera (Shroud Of Winter) and David Williams.
Hiatus 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 […]
Clouds Hill James Johnston often seems omnipresent, having lent his dark twang to the likes of Lydia Lunch, The Bad Seeds, Faust, PJ Harvey and of course his own baby, Gallon Drunk, over the past few decades. It comes as a bit of a surprise then that The Starless Room is actually his first ever solo release under his own name.
Bureau B This is the second instalment of Bureau B‘s Con-struct series, with Schneider TM taking up the posthumous reins, grappling with Schnitzler‘s daunting archive. In direct contrast to Pyrolator‘s take on the subject (a few years back), this dwells on the more investigate side of Mr Conrad‘s oeuvre, something Mr Dresselhaus gets down’n’dirty with, eking out a host of abstract vitality, wrestling with sonic life-forms that defy your […]
Touch Lustmord has long had an affinity with space, both the sonic space of his heavily dub-inspired soundscapes and the actual physical space of the cosmos. For people of Lustmord’s and my generation, space was our future — where we all expected to be hanging out by the start of this century.
Hallow Ground I’m not going to use the C word, but he’s not hiding from it. As much as Danny Hyde is his own man, and Electric Sewer Age is his own creation, there are several tantalising trails and in-jokes and red herrings for the fanatic(al). Some of these traces are obvious
Atomhenge Hawkwind will inevitably be remembered for “Silver Machine” — an unlikely (even in 1972) top ten hit — and Space Ritual, possibly the greatest live album of all time. From 1970 to 1973, they were indeed the voice of the underground, the UK’s version of Grateful Dead, had that group been any good…
Tonefloat The 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.
Hornschaft Back in 2014, two guys spent one day recording music for a 10″ record in an old school in Nowa Hut to accompany a hardback book of photographs. The result of photographer Giordano Simoncini and musician Alessandro Incorvaia‘s labours, hand-numbered and limited to 500, I hold in my hands and it is a thing of beauty.