Surgeon chips in a rugged remix on this collection of vintage, remastered and remixed Hypnoskull gear dug out by Shapednoise, Ascion and D. Carbone’s Repitch Recordings.
Revolving three tracks from Hypnoskull’s noisy FFWD>>Burnout!  release for Ant-Zen, plus the aforementioned remix, this 12” feels like a wretched anti-peristalsis from 20 years ago, coughing up a dog’s dinner of chunky noise techno blatz in Mech Ind, which comes reinforced as galloping, brain-drilling Surgeon remix, while the B-side forces out a rim-ripping U-bend blocker in Down Again, and what sounds like Alec Empire with twisted knickers on the title cut.
Björk casts her butterfly net over Jlin, Lanark Artefax and Kelly Lee Owens for remixes of her and Arca’s Utopia album cut, Arisen My Senses.
Lanark Artefax does his hyper-tactile IDM thing, threading Björk thru a maze of unmetered, Autechrian fuss and decapitated rave whoops, nestling a gorgeous breakdown in the later stages.
Trust Jlin to push the prism though, as she dissects and resynchs the vocal into remarkable, body-knotting tumbles and nano-rhythmic plies, and KLO turns the same elements into one of her supremely sensuous ambient house specials underlined by plush subs. We can imagine these latter two spinning the dance beautifully.
An astonishing solo debut by acclaimed cellist and composer Lucy Railton featuring one side of filigree, multi-layered autobiographical collage-work, the other of raw and phased cello glissandi. RIYL: Mark Leckey, Alvin Lucier, Beatrice Dillon, Nate Young, Valerio Tricoli, Popol Vuh...
Lucy Railton is a prolific performer who has appeared on countless recordings and collaborations with many important figures in contemporary music over the last few years. Paradise 94 is, remarkably, her solo debut - featuring archival, location and studio recordings which serve as a time capsule of all the myriad disciplines and influences that have brought her to this point in time. It both plays up to and shatters expectations of her music, which harnesses a duality of energies - acoustic/electronic, real/imagined, iconic/iconoclastic, pissed-off/romantic; out of place and androgynous - resulting in a visceral emotional insight and rare narrative grasp.
Variegated, asymmetric, and located somewhere between her usual fields of exploration, Paradise 94 gives free reign to aspects of her creativity that have previously been subsumed into collaborative processes and interpretations of other composers’ work. Here, she’s free to probe, sculpt and layer her sounds through a much broader range of techniques and strategies, placing particular focus on non-linear structural arrangements and exploring the way her cello becomes perceptibly synthetic through collaging, rather than FX. At every turn Paradise 94 is bewilderingly unique.
The A-side unfolds an oneiric, inception-like sequence traversing temporalities, timbres and tones from what sounds like a spectral ensemble playing on a traffic island in Pinnevik, to bursts of rabbit-in-headlights trance arps emerging from meticulously dissected musique concrète in The Critical Rush, and a collision of masked vocals, string eruptions and a deeply moving, light-headed Bach rendition in For J.R.
On the other hand, Fortified Up on side B tests out a far rawer approach, sampling herself playing the same glissandi over and again, which she layers into a sort of perpetual, sickly motion, the Shepard Tone riffing on the listener’s psychoacoustic perceptions before calving off into a cathartic dissonant folk coda in its final throes.
In the most classic sense, you can only properly begin to f*ck with something from the inside once you truly know it. Railton’s dedicated years of service have more than equipped her with the nous and skill to do just that, gifting us with what will no doubt be looked back on as a raw, exposed and important solo debut in years to come.
A dream come true; Jochem Peteri a.k.a. Newworldaquarium a.k.a. 154 blesses our 12x12 series (already home to releases by Kara-Lis Coverdale, Beatrice Dillon, Raime, DJ Sprinkles & SND and V/Vm) with his first new release in 14 years. His 'Strike' album under this alias remains unsurpassed in its field today, influencing everyone from Actress to Lee Gamble and Huerco S over the past decade and more, and it’s fair to say that this new LP beautifully lives up to that classic high water mark.
In Wherever You Go, I Will Follow he deploys 22 minutes of cascading deep techno romance, cleft in two and cut at 45rpm each side for mutable DJ options and listening modes; swelling with breathtaking, pulsating techno harmonics at the original speed, and yielding a head-engulfing smudge of billowing dynamics when slowed down.
While it remains patently the work of Peteri, it finds him wholeheartedly embracing the harmony between analogue and digital realms in his studio; finally allowing him to dynamically compose, edit and effortlessly shift between and inside mediums; something he’s been hoping technology would allow for years but which has only effectively become possible recently.
Taking inspiration from the birth of his second child, the results are suitably life-affirming and bathed in light. They take the listener beyond the smoked-out introspection of Strike  and The Dead Bears  to a more contented and quietly alluring place on the horizon, positively replacing his earlier work’s sense of detachment with transcendent feelings of intimacy, happiness, love.
Or in Peteri’s own words, this one is about family...
After turns by Burnt Friedman and Max Loderbauer, Marionette return attention to Benjamin Kilchhofer’s lilting drum patterns and bittersweet electronics on The Book Room, his broadest and most significant release to date. Followers of Burnt Friedman’s rhythmelodic arrangements, the ersatz ethno vibes of Don’t DJ or Shackleton’s hypnotic patterning will find lots to delve into here.
“Benjamin Kilchhofer is not new to the world of recorded music, yet he doesn’t seem to fit into a particular scene or group. As an outsider he is, however, fully immersed and melded into his own universe. He mentally escapes to a parallel world and weaves an alternate reality which would otherwise not exist in his daily life. Kilchhofer avoids the spotlight and therefore isn’t really visible in today’s culture of ever changing content and social media. This is where Marionette steps in to attempt to shed as much light as possible on this unique and incredibly talented artist.
The Book Room is Kilchhofer's musical diary, it's his library of emotions. It's a fairytale, an imaginary place shaped by exotic cultures, an escape from modern society, a collage of real and imagined experiences. You can hear influences abstracted from a wide number of musical approaches: the story-telling nature of folklore music, naive and conflicting rhythms of tribal drums, melodies and pads reminiscent of classical minimalism and microtonal experimental music, the freeform approach of early electronic music and krautrock, and buried deep within the tracks some hints of hedonistic dance and club music.”
D.K. does his debonaire, Far Eastern-oriented synth thing for Second Circle, leading on from his ambient split LP with Suzanne Kraft for their sister label, Music From Memory in 2017.
The Mystery Dub EP can be roundly summed up as disco music from the equator, as D.K. entwines percussion indigenous to South East Asia into patterns more reminiscent of African and South American Latin styles, using canopies of bird calls and humid synth atmospheres to bind those elements into their own sweet dancefloor ecologies.