Diagonal artist Blood Music follows his ‘GPS’ tape with a new album of sound poetry
“FOUR PINTS OF GUINNESS FOR TONY CONRAD is a split release from Simon Pomery and Blood Music. Simon is Blood, Music is Pomery. Accompanied by a 64-page book of visual, poly-lyric and collage poetry, this work merges his two artistic practices in a mutually-reinforcing bloom of word and sound.
BLOOD MUSES is SIMPLIFICATION POMERANIA: Longfellow-basic sonnet artificial, mushroomed, make of thereby "influential-poet", cures of PRANCER. Found in Longing, in 5591. Theatricals namelessly "Blouses Mussels" is one of Englishizes trash of theology Japan taipei ensigns, Kodiak: "chisel of theorized drummed", "minicomputer-befuddled-thoughtlessness", andes "mushroom heaviest in theorems womb", or rated, "bloodshed muslin". Drudgery sinatra theorems agent of 1, guidebooks sinuous theirs agents of 8.”
Broken beat and UKF mutant Altered Natives pushes the tempo of his style into icy footwork, ghetto-tech and minimalist jungle frameworks for London’s We Buy Gold.
It’s all about the muddafrickin’ bass on this one, practically pushing the subs so hard that there’s no room in-the-mix for any drums apart from skittish hi-hats and rimshots, with the mid-range void coloured in spectral electronic disturbance and reverberating ether voices.
‘Kin Asbo’ sets the model with palpitating subs and distant but needling strings in a way doing for footwork what DVA did with Gqom in the DRMTRX sessions. ‘Moments’ follows on a proper hot-stepping flex with psychy loops and rapido pulses recalling Singeli styles, while ‘Always Sunny’ messes with the meter in a way compatible to Slikback, and ‘Daddy’s Gone’ does proper UK darkness in a frozen jungle style.
Bristol bassbin queen Sophia Louizou meets Peder Mannerfelt and Malcolm Pardon’s RTD on a tantric ‘ardcore tip for the 5th in Roll The Dice’s ‘Assimilarity’ series
Marking Louizou’s 1st release since ‘Irregular Territories’  and the follow-up to RTD’s ‘Hydra’ hook-up with Alessandro Cortini, ‘Head Drop’ is a pensile fusion of darkside ’93 jungle’s negative ecstasy with weightless noise pressure done to exacting degrees somewhere between classic Jega and Christoph De Babalon.
Warmly endearing synth trips charting 2 days of recording on an island in Canada. Smells like campfire smoke, trees and starlight.
“Matthew Bailey and Carl Schilde play fully improvised music oscillating somewhere between bingo hall Casio suites and kosmische dreamscapes. The duo perform under the name Playdate, and are sometimes accompanied by 90s instructional videos, larger than life amateur dancers, and outdated light shows.
Last summer, they travelled to a remote cabin on Manitoulin Island and recorded their debut album in two days, improvised live onto stereo cassette tape. They ceremoniously recorded two 30 minute tape sides each morning, afternoon and night, surrounded by insect drones, forest breezes and lapping waves. Manitoulin Tapes is the distillation of that bucolic experience. Like the mutable remote island environment, the recordings are sometimes warm and pastoral, like an Algonquin Cluster, at other times somber and brooding, like Sympathy Nervous, Pan Sonic or Cabaret Voltaire inspired by the Group of Seven rather than Dada.”
Italian IDM/electro veterans Retina.IT do concentrated, shifty, buzzing electro for Boddika’s Nonplus
‘Formant’ is a trippy, monotone study in processed vocals, and ‘Neural Map’ dices with a sort of Mille Plateaux style glitchy minimalism. ‘Unconditional Perceptive’ and ‘Unknown Totality’ till sunken ruts of sludgy techno, and ‘Memory Sensation’ launches a hydraulic jack recalling Donato Dozzy styles.
"Released in 2000, The Virgin Suicides was director Sofia Coppola’s first feature film, Kirsten Dunst’s first major screen role, and Air’s first foray into film scoring. This 15Th Anniversary Deluxe Edition features a remastered version of the original soundtrack, plus a full download."
Bala Club and Bubble Gum Violence founder Katie Vick rolls out a beguiling debut album strafing between reggaeton-pop mutations, indie rock, metal, and corny Emo-EDM-pop. Half of us thinks this is James Ferraro in disguise…
“The story of how to create a misanthropic abused murderer, Killerguy, and how to save the planet simultaneously.”
Roughshod techno from Belgium’s Peter Adriaenssens aka 6SISS, tipped to fans of Peter Van Hoesen, Shxcxchcxsh or Ben Frost
Apparently coming from a new beat heritage, 6SISS’ style of techno is entirely modern, delivered in a drily abrasive vernacular of noise-sculpted hits and tarmac textured swipes between the galloping force of ‘Prisma’, a cantering juggernaut that sounds like Frank Tovey’s Mkultra gone techno in ‘No Isms’, and the turbulent roll cage shudder of ‘Delta’.
The label behind that mint Maria Rita reissue, Optimo's Selva Discos fasten their dancing clogs again with a tight original burner by Edson Gomes da Conceição, back with Mike Burns’ straighter disco edit
Slunky electro sleaze and melodic pirouettes from Carl Finlow’s Silicon Scally
Returning to Sheffield’s CPU after 2018’s ‘Projections’ 12”, Finlow plays it classically in all parts, getting into kerb-crawling gear with the lo-slung ‘Cobalt Blue’ before stroking his synths to spume polychromatic arps, hingeing around spare Linn snares in ‘Scintillation.’ Flip it over for a ruder push with the red-lining bass distortion IN ‘Asynchronous’ and the shifty Drexciyan acid electro of ‘Protocol 2.’
With incredible tactility and nuance Nicola Ratti (Bellows) evokes odd, bittersweet sensations and stimulates the proprioceptive senses in his definitive new solo opus for Students of Decay.
As usual Ratti gets the most out of minimal input on ‘Continental’, but where his previous string of LPs up to and including 2017’s ‘The Collection’ were defined by their austerity, his music now feels more expansive, sensuous, and subtly illuminated. It was conceived of by Ratti as a “series of big rooms or places to get lost in, full of small details and characterized each by a single flavor or perfume” and we can vouch the fact that he’s beautifully achieved his aim within.
The album’s eight tracks tease the listener’s sense of anticipation and orientation with an uncanny, calmly psychedelic potential perhaps equivalent to the effect of microdosing or jetlag. Entering the gates of ‘Palace’ he comes off like K. Leimer playing in the official residence of Rashad Becker’s Notional Species, and continues to work inside that imagined aesthetic between glassy geometries also recalling the quietest side of Sote in ’nº1’, while ’nº2’ suggests an electro-acoustic simulation of Japanese gaga or Korean classical court styles, and ’nº7’ comms off like Bellows at the beach. However the Lp’s trippiest highlight is reserved to ‘Cuarto’, where a quualude-loaded Dale Cornish drawls over non-Newtonian bass texture and tart harmonic fumes, before ’nº8’ melts and tootles like a semi-organic Pierre Bastien creation left to shrivel and curdle in the sun.
It’s the most satisfying stuff, a real eight course taster platter for the ear.
Glacial, magisterial studies in the psychoacoustics and aural phenomena of Lithuanian folk music from Joshua Sabin; exploring the emotional potency of the human voice through manipulations of archival recordings, traditional instruments and native forest ambiences.
Drawing from the folk music archives of the Lithuanian Academy of Music and Theatre Ethnomusicology Archive, Sabin was particularly struck by recordings of Sutartinės: a near-extinct form of two and three voiced polyphony notable for the way it uses dissonance and creates perceptible “beating” frequencies due to the way singers (usually women), or instrumentalists on a skudučiai (a sort of panpipe, often played by men), create driving, dissonant tensions between their tightly syncopated parts.
Also taking cues from the psychoacoustic research of Rytis Ambrazevičius, whose computer analyses highlighted the unique acoustic and harmonic complexities in these archival songs, Sabin subtly exaggerates and reroutes what he calls their “arresting and often almost plaintive and minimalistic beauty” into a suite of forested soundscapes that unfurl with a natural beauty comparable to Ian William Craig’s decayed, long exposure landscapes, the arcane and ritualistic atmospheres of Lussuria, or the wind-etched grain of Richard Skelton.
Slow burning and billowing ambient/kosmiche scapes in the vein of Abul Mogard or Alessandro Cortini, collected and released by Kit Grill on his PrimaryColours label
P’raps better known as a graphic visual artist, Jorge Antony Stride now presents his music for the first time, distilling and compiling a series of 2017 synth improvisations into a gauzily experimental self-portrait in sound.
Enriched with a similar sort of sehnsucht to Abul Mogard’s ambient factory meditations or the wandering soul of American synthscapers such as Barn Owl and even early 0PN, the music oozes at a stately pace, often slightly parched and delirious, as though reflecting a journey of discovery in the desert or on high plains short of oxygen.