Quickly following Spring's "Light Self All Others", "Aeonium" is another Manuel Gottsching-inspired kosmische trip that expands lush guitar improvisations into meditative drone symphonies.
PJ Dorsey has been releasing music under the Tarotplane moniker since 2015's Aguirre-released "First", and this latest full-length - Dorsey's first for the Constellation Tatsu label - is billed as a sort of follow-up to 2020's "The Feedback Sutras". Like that album, "Aeonium" is made up of long-form compositions, and opens with the side-long title track. 'Aeonium' is a deep, syrupy composition that's assembled from layers of guitar and bright, plucked arpeggios - it's between early Tangerine Dream and Manuel Gottsching, with a little of Emeralds' tape-dubbed weirdness dribbled in for good measure.
The flipside is split into two sizeable compositions, the dark but uplifting 'Auximenes' and 'Omayyad', a rhythmic Reichian chug that neatly offsets the rest of the album's hazy ambience.
Seething hard takes on South African gqom by Tokyo’s KΣITO, previewing a sound he’ll be taking back near to source with his set at Nyege Nyege Tapes’ 2022 festival edition
Applying some obsessive Japanese detailing to the prevailing grime-techno sound of Durban, KΣITO slaps it silly in all seven parts. ‘Button’ fuses the sound with the drama of modern traditional Japanese dance; ‘Namako’ simmers it with more atmospheric tension pieced by barking stabs; ’Simo Uma’ amps the drama with orchestra drums and reverb; ‘Makimura’ injects some darkside carnivalesque flavour; ‘Jakuzure’ hinges off Hitchcockian Psycho-esque string stabs; and ’Shinkai’ comes with the martial bounce.