Deaf Center's Otto A. Totland gives room to breathe and reflect with the rarified solo piano hush of 'the lost', a follow-up to his beautiful debut Pinô , which, like this new LP, was also recorded at Nils Frahm’s Durton Studio in Berlin, and released by Monique Recknagel’s Sonic Pieces.
Intended to be “played on ‘soft’ volume”, in order to “Embrace the mechanical noises”, Totland’s 2nd solo album unfurls a baker’s dozen of beautiful airs with a glacially elapsing sense of timelessness that almost makes you forget that the world outside is heading towards terminal velocity.
One of the most endearing elements of Totland’s work is the way he effortlessly sidesteps the more overblown gestures of many in the contemporary classical field in favour of a relatively rawer, more modest sound, allowing us to hear the friction of the keys against themselves and even his bum shuffling on the piano stool, which serves to level the recording in line with the listener’s perspective - rather than wow with some church-like reverbs or lofty detachment - and in turn offer a direct way in to his fragile, melancholy expressions.
Loke Rahbek meets his label mate Frederik Valentin (KYO) on their maiden collaboration - an elegant, often ravishing suite of synth gestures where Valentin tempers the more saccharine tastes of his peer, and vice-versa Rahbek softens his jazzier angles, both helping to realise a sweeping cinematic sound with stylistic parallels found in Maxwell Sterling’s Hollywood Medieval and Japanese electro-jazz.
“As old friends circling around the same scene this is the first time they have combined their respective perspectives. The results are an ambitious aquatic infused audio environment. Recorded near water at Valentin’s studio within the vicinity of the new aquarium in Copenhagen, Buy Corals Online channels the sensual floating aspects of such environments.
“During Japan’s Edo period (1615–1868) the phrase "the floating world" (ukiyo) evoked an imagined universe of wit, stylishness, and extravagance—with overtones of naughtiness, hedonism, and transgression. Implicit was a contrast to the humdrum of everyday obligation. The concept of the floating world began in the Japanese heartland, migrated eastward, and came to full flower in Edo (present-day Tokyo), where its main venues were popular Kabuki theaters and red-light districts.” - Wikipedia
Buy Corals Online arrives as a suite of works embracing the joy of being close to something you don’t require interaction in order to experience. This enchanting aquatic infused audio hovers a sensual world rich in sensory experience. Loke Rahbek & Frederik Valentin’s debut outing conjurer's a world both sensual and abstract as it moves casually alongside fantasy.”
Karl Records catch Konstrukt and Keiji Haino in collaboration as you’ve never heard them
Veering from a killer spin on Turkish psych disco with wigged sax, wails and electronics harnessed to a disco thump on the 1st track, thru to mathy free jazz, exothermic outbursts, and a thrashing avant-punk piece, then coming to rest on a cooler ‘70s jazz-fusion tip. We’d love to hear someone deploy that 1st cut on an unsuspecting disco crowd!
The Greek collaborator of Arovane and Dictaphone stakes out his most wide-appealing solo side to date, turning inspiration from Arvo Pärt and Max Richter into rich cinematic soundscapes...
“Seductive and cinematic soundscapes between ambient, drone and indie-neoclassical music: these are the best words to describe Hior Chronik's style. A style that captures ears and soul, bringing you into an imaginary world, arousing emotions, making the mind wander to distant places. This is the goal of the Greek musician, now living half of the year in Athens and the other half in Berlin.
You can hear it in his new record "Out Of The Dust", produced by himself, mixed by John Vallasis and mastered by Francesco Donadello at Calyx Studio, Berlin. I tried to combine ambient and drone sounds with strings and piano following a harmonic direction", Chronik explains. I wanted to make a soundtrack for a movie that was never shot'. The mood is melancholic, but not only that: There's a dark side, but I made it run parallel with bright soft melodies', Chronik continues.
And on the topic of his music influences: It's hard to specify what exactly they were, but I think I'm close to Max Richter and in some ways to Arvo Part. Besides that, true inspiration comes from my life experiences, even the small little things: books, films, people I meet, travels. And being close to nature: I would say that's the base of everything'. After three solo records and two in collaboration with Arovane, Chronik is now ready to launch his new work Out of The Dust'. The title is a political quote about how we can fight against the crisis, but also against the existential anguish of surviving. A movement of no fear and the beginning of a new life', he explains.
On how he developed the songs, he says: I recorded piano, trumpet and strings in their analogic sound, then I used effects as I always do for the ambient and drone sounds'. Out Of The Dust' shows a personal and unique style that brings Hior Chronik's music to a wider audience. His sound is able to embrace at the same time the delicate piano themes and the dark ambient/drone tones, while at the same time searching for new territories to explore in the neo-classical scene.”
Sickest London drill and grime instrumentals from Alex Deamonds, curtly switching his sound from classically-skooled styles with a bag of bang upfront new drums and roadwise, atmospheric tension.
From the razor-trimmed tics and dark sino strings on Careful, thru the bouncing parry and cyberdub dimensions of Rose From the Dead, to the icy Prada Steamer Trunk and his cold finishing move, Thats Jokes this is one of the strongest, intricately detailed yet rugged dispatches we’ve heard outta London in 2017. No hype thing, just fucking killer beats and sounds.
Tom Ware is a Grammy nominated engineer, producer and musician from Omaha Nebraska.
"Throughout the 70s and 80s Tom was the drummer for many bands, including Norman & The Rockwells, Toy boat Toy boat Toy boat, and Hit N Run. Because of his love for electronics, mechanics, and machines of any kind, he was always the only one who truly knew how pa systems worked. Tom got an entry level job at a Rainbow Studios and would work at the recording studio during the day, play evening gigs till 2 in the morning, then go back to the studio and work on new ideas all night. During these teeth cutting sessions, Tom worked by himself, following his instincts and creating sounds he loved to listen to.
His reckless abandon approach and thrill to learn was a high octane fuel that resulted in his first solo self-titled album. The album’s 10 songs were recorded and mixed between August & December of 1983 and self-released in early 1984. The album would be re-released in 1985 by independent Krautrock/Kosmische Musik label Sky Records in Germany and re-titled ‘The Fourth Circle’. Some of the instruments used on the LP were a Sequential Circuits Prophet 5, & Pro One, Simmons SDSV electronic drums, Roland TR-606 drum machine, & Hammond B3 organ. While recording this album Tom was influenced by new wave sounds of Yellow Magic Orchestra, the Berlin and Düsseldorf schools of pulsing synth music and the celestial realms of Jean Michel Jarre.”
Flying Saucer Attack’s 4th album of tempestuous shoegaze In Search of Spaces  made available to download for the 1st time, over 20 years since the original release was compiled by and appeared on Bruce Russell ov The Dead C’s Corpus Hermeticum label.
The original 50 minute piece, itself built from various 1994 live tape recordings, is here augmented by an extra mix by Jim O’Rourke, and also broken into four parts, lending some punctuation to a sprawling set that cycles with psychedelically and furiously from clouds of coruscating guitar feedback thru blown-out atonality and amp worship to a new, more tranquillised 4th part.
Emotional Rescue dive into Vox Populi!’s sprawling, psychedelic catalogue, come out clutching Magiques Creations as the 1st of two newly issued, archival pearls. This set essentially scans 1984-1989 to compile a sort of pre-echo of their classic Aither album, pulling cuts from an Untitled  tape and tracks made circa their cult classic Half-Dead ganja Music. Make sure to check for the cosmic swagger of Tchi Tchi Vox, the paralytic ambience of Nazareman, and the exquisite, Pump-meets-Maria Minerva quaaludes descent, Bedroud. Cracking set, this. Roll on the 2nd…
“Self-labeled as an ethno-industrial project, Vox Populi!’s recordings act as a document of the bridge between their earlier industrial influenced output through to a more cerebral, ethnic oeuvre. The collection highlights the movement through 1985’s Myscitismes and 1987’s Half Dead Ganja Music towards Aither, with a darker, edgier sound mixed with increasingly lighter, ethereal touches.
On pieces like Joue Joue, Miss October and Ankaboot the synergy is apparent. Mithra’s vocals align with organ and synthesiser to set gothic-noir scenes, while the heavy kick of Tchi Tchi Vox and Jube Man, with sax and distortion clearly pre-dating Aither, propel to the more experimental DJs. Against this Nazareman, Bedroud and Deltangui explore the increasily ethno side of the band.
As the album unfolds however, it’s not about single pieces, but a cohesive whole and the process and flow. Ethnic influences float around rhythm box, as hand percussion, guitar, tar and tapes warm the mind and lilting vocals seep inside.
The collective nature of the band’s recording is witnessed, but the pieces work together perfectly. The process of making music, constantly evolving a sound of their own has left a trove of music to examine. Working closely with Axel and Mithra some thirty years later brings out it’s own vibrations.
Ancient flights remembered.”
Driving tech-house/italo-trance gear from Margot, taking flight with the sleek bass propulsion and skyward synths of Amore a Bordo Pista, cutting it sexier with the rude Italo bass wriggle and burning acid trance lead of Salsce, and building it from the belly up to the gurn with Taormina.
Dauw supplies a sort of posh donking remix of Amore a Bordo Pista layered with MDMA-triggering synth flutters, and Kiwi gives Salsce a stealthier build leading to more intricate lattice of bleeping arpeggios.
Deep and banging techno is the mode for Dekmantel 10Years08
Taking in the slippery chassis and plunging wormhole dynamic of Storta by Donato Dozzy & Peter Van Hoesen; a gliding Dutch/Detroit ace in Serval by Deniro; the banging but deferred acid gratification of Talismann’s Aciano; and a straight-up acid house rub by Matrixxman.
Superb debut album by one of the UK’s more distinctive new pop voices and producers. After cutting her teeth with idiosyncratic releases on No Pain In Pop and Kassem Mosse’s Ominira, Throwing Shade adopts her birth name, Nabihah Iqbal for a more personalised set of songs, adapting influence from ’80s goth, Egyptian mythology, and Teutonic psychedelia to realise a striking, unexpected sound, especially when judged against her early work.
Weighing Of The Heart finds Nabihah firming up and expanding upon her identity as a female British Asian artist in a way that doesn’t play into cliché or expectations. There’s no discernible sonic correlation between her heritage and the music, but that’s most likely symptomatic of her London environment more than anything else. Immersed in the great NTS radio station and busy with myriad art and film projects, her sound is better considered in terms of a sense of pop-wise unity and appeal, as part of a greater sum than herself.
Her vocals alternately lend themselves to comparison as much with The Streets as Teresa Winter, whilst the gated ‘80s snares are a common hinge between stripes of synth-pop, rare groove and proto house, essentially forming a mesh of dream-pop that neatly and knowingly exists within and outside of its temporal context. From our perspective, it sounds like a very London album, and maybe that’s the point; that London is a world or identity unto itself, inextricable from her own.
Black Editions present the first ever vinyl edition of Tokyo Flashback, the legendary 1991 compilation that defined the Tokyo psychedelic movement and first brought it to the outside world.
"Tokyo Flashback is one of the most iconic compilations in the history of underground music. Originally released by Japan's P.S.F. Records, Tokyo Flashback defined the breathtakingly unique and previously obscured musical movement that had been developing in Japan since the late 1970s. The compilation features some of the earliest released recordings by Keiji Haino, High Rise, Masaki Batoh's Ghost, White Heaven, Fushitsusha, Kousokuya, and Marble Sheep. It captures the excitement and energy of a Tokyo awash in Technicolor and deep blacks; the music echoing krautrock, psychedelic freak-outs, garage, and no wave. At the same time it reveals astonishing, totally idiosyncratic expansions of rock music.
In time, Tokyo Flashback expanded to a synonymous nine volume series that, over the following two decades, unveiled Japan's ever evolving soundscapes to the rest of the world. Tokyo Flashback is a defining statement of late 20th century Japanese psychedelic music and an essential primer to the world of P.S.F. All tracks are exclusive, this edition features the first time translation of the original liner notes. Black Editions' deluxe edition is entirely re-mastered and marks the first release of Tokyo Flashback outside of Japan and it's first ever vinyl issue."
This latest instalment in Soul Jazz Records’ Deutsche Elektronische Musik series delves deeper into the German nation’s vaults to bring a fascinating new collection that again brings together a selection of classic German electronic and rock groups, including Neu!, Cluster, Popol Vuh, La Düsseldorf, Agitation Free, alongside a host of rare tracks by lesser known artists which includes Michael Bundt, Bröselmaschine, Dronsz, Achim Reichel and others.
"The music of Deutsche Elektronische Musik 3 ranges from the introverted pastoralism of Hans Joachim Roedelius and Bröselmaschine, to the angular and futuristic electronic experimentations of Klauss Weiss, Pyrolator, Deuter, Michael Bundt and others, to the proto-punk of La Düsseldorf and the heavy space, progressive and cosmic rock of Missus Beastly, Niagara and Dyzan.
The music on Deutsche Elektronische Musik 3 was all recorded in the 1970s up to the early 1980s, at a time when forward-thinking German electronic and rock groups were searching for a new musical identity in order to separate themselves from both the cultural legacy of post-world war two Germany as well the ‘cultural imperialism’ of USA and UK rock. In this process German groups created some of the most unique and inspired music, the defining motorik beat alongside a host of ethno-musical influences from far afield – including Turkey, India, Brazil – as well as the musical and futurist possibilities of developments in electronics and technology itself.”
Tigersushi fill a particular, serene niche in contemporary French music with ‘Musique Ambiante Francaise’, a serenely seductive suite of ambient or beatless works spanning their esteemed roster; from I:Cube to Etienne Jaumet, Mondkopf, The Mole, and Essaie Pas (Marie Davidson + Pierre Guierineau).
“It all started when Apollo Noir, Tigersushi’s latest signing came to me with a split 12” he wanted to release, including his own track “Inspiring Images & Visual Power. Chosen With Love & Dedication” and Glass’ “Heart”. I loved the tunes but wasn’t convinced that releasing a 12inch for those 2 songs only was relevant, so I proposed we extend this split EP to a full French Ambient compilation and we all got excited by the idea. There’s never been one although there’s an undeniable interest in that genre from a broad spectrum of French musicians. A few days later, me, Apollo Noir and Charlotte (Tigersushi’s lieutenant in chief) compiled a short list of names we were interested in and within just a few weeks we put together this compilation. Amazingly, 95% of the artists we contacted agreed to participate.
Another surprise is how those 18 tunes come together in such a homogenous way, this stroke me the first time I listened to the whole record. Maybe it’s a result of the fascination for old and new analog machines shared by most of the musicians featured here. Maybe it has to do with a long French lineage of experimental electronic music (Pierre Schaeffer, Pierre Henry, Jean Michel Jarre, and all the lesser known synth library music and score composers...).
Anyway we couldn’t be happier with the result and we’re already excited to work on the second chapter.” Joakim”
The Peckham/Paris-based Panatype label scoop another lovely debut with Bernard Baum’s curious offering of small sound ambient scrabble and drizzly dub-house environments following up Home, the sublime first release by Newcastle’s Schuttle. In a similar, drowsy late night style, this one nestles somewhere between the sweetly decayed ambient foliage of Huerco S, Phil Struck and Cotton Goods.
With only a two hour soundcloud mix to his name prior to After, Bernard Baum arrives hazily formed from the internet ether with a gently intoxicating suite of rustling ambient textures and drizzly environments, drifting half-consciously from the anaesthetised atmosphere and stumbling dub groove of Cromis, to feel his way thru gently textured tracks with a really intimate sort of tactility, from the woolly chords of Onra, to the gently coruscating metallic tang and bittersweet underwater melodies of After, before coming up for air with the Huerco S-like dub house buoyancy of Atoll. The B-side then leads back inside, introspective into the haptic rustle and buzz of Cold Agriculture, to float Enter The Void style on the slow ambient jazz chords of of Coming Down In SE5, then stranding us at the ambient outlasting Atoll (Beatless Mix) in a sort of palindromic, Moebius strip resolution, ready to go from the top again.
Legowelt does Legowelt on his umpteenth album of lamping drum trax and retro-futurist synth wiggery.
It’s all hardly indistinguishable from any other Legowelt gear, apart from Legendary Freaks, which makes good use of a bumping ghetto-bass break beneath his signature synthetic expressions. Basically flogging a dead centaur, but in deep outer space, with camp costumes. Woo.
Hot at the heels of their Live At Third Man session, ADULT. task a crack squad with remixes of their Detroit House Guests album tracks.
Juan Mendez a.k.a. Silent Servant fills the brief with devilish style on a breathless, bruxist EBM remix of We Chase The Sound, where he buries Shannon Funchess’ vox deep in the wires, before she chops herself up into gasping sparks and spat syllables in her own, ruddier, angular take on the track.
The legendary Barry Adamson is perhaps a surprising choice for the remix of We Are A Mirror, but handles the spiky groove and Douglas J McCarthy’s vocal with iron mitts and spunky aplomb, before Liars head the opposite direction to everyone with an arid, cinematic ’Savannah’ remix of Breathe On making filigree use of Michael Gira’s original vocal.
Sam Kerridge launches a major rethink of his style with the high-velocity tempos and razor-toothed bite of The Silence Between Us, new on Downwards.
Toiling somewhere between Ueno Masaaki’s Vortices for Raster-Noton, the pitching pelt of La Peste for Hangars Liquides, and the machine convulsions of Somatic Responses, he goes balls-to-the-wall with the breakneck momentum of Possession/Control, harnessing reverse-edited kicks, helter-skelter EBM bass and spectrographic noise ghouls in a surge of searing rave energy.
Flipside, those knotty, strobing pulses keen thru empty stomach inversions and bursts of tangled EBM synths on Ascension, which is effectively a snappier edit of the A-side, whilst Radical Possibilities of Pleasure sounds like a field recording from a french hardtek invaded by dildo dibble in choppers and riot gear railing lasers against any unlucky dancers.
Some of the swerviest gear we’ve heard from The Maghreban
Getting it right in all three parts with the hypnotic, sloshing cadence and over-stepping lean of Pots & Pans, drily adroit drum machine calculations and jazz-funk suss in Martha, and grubbing funk redolent of Beatrice Dillon or Giuseppe Ielasi on Elka.
Erstwhile Murkage member and current media darling Gaika follows thru on Warp with electronica hooks and trap beat buoying his autotune vox on CHOP, before putting a UK styled acid- prefix on psychier ATL styles with SMOKE BREAK.
Pour Le Club! is Simo Cell’s 2nd and strongest batch for Livity Sound
Twysting out four permutations of UK Bass, techno and D&B with best results found in the tense, robotic swagger of Stop The Killing and the subtly nudged footwork/jungle swang of Feel Di Kouala Vybz compatible with Equiknoxx and Errorsmith as much as minimalist grey area styles.
Smart serving of simmering, bluesy soul from N.O.W
Starring deep south raps by Mozez and Allan Kingdom, carved from the forthcoming Shape The Future album. Also includes remix from Ron Trent sounding like Karizma or Theo Parrish on a Gospel flex in the lustrous dub and vocal versions.
After leaving us hanging since his F.X.H.E. 12”s, Detroit’s John F.M. stretches out on Trilogy Tapes with two deeeep, head-swimming house trips.
On Ricochet he takes the opportunity to really go out there with two minutes of cubist bleep jazz then joined by a reverse-edited kick that carries the track thru ten minutes of expressive chords and latinate percussive inflections.
…And Then Leave is more direct, stepping in with early ‘90s rave phrasing alloyed to roving tribal drums like some earthier take on early Kevin Saunderson, or a Gary’d up Carl Craig.
TR One join DBA with four deep ’n druggy house explorations in their A Month Has Passed EP
Maintaining an off-centre pressure from the titular tribal stepper thru the buoyant kosmische chug of The Boutique Of Neverending Dreams, an NYC organ rider called The Printer (That Stole My Time), and the acidic deep techno dive Road To The Sea.
Restored and remastered by Chris Carter from 24bit 'baked tape' digital transfers of the original first generation analogue master tapes.
The tragic death of Peter 'Sleazy' Christopherson earlier this year signalled the end of Throbbing Gristle, whose surviving members are currently working to complete their final album before retiring the name. It couldn't be a more appropriate time to revisit their revolutionary records of the 1970s and 1980s, remastered by Chris Carter and reissued on Industrial Records.
Their first proper album, The Second Annual Report is essentially an edited collection of live and studio takes, and still sounds fresh and uncategorisable. 'Slug Bait' has lost none of its transgressive power: the ICA recording foregrounds Genesis P.Orridge's gleefully macabre lyrics (inhabiting the mind of a particularly nasty murderer), while the shorter Southampton and Brighton versions emphasise the minimal synth drones and sampled voices. 'Maggot Brain' sounds like 60s psychedelia that's taken a wrong turn and ended up in hell, while 'Live At Rat Club London' is probably the closest thing on here to the common conception of industrial, all disorientingly looped spoken vocals, brutally mechanized percussion and needling synthesizer jabs, while 'After Cease To Exist''s oppressive atmospherics - taking up an entire side of the original LP - pretty much gave birth to the entire dark ambient genre. The comparatively bright-eyed and bushy-tailed, Kraftwerk-influenced single 'United' - the tune that ushered in a million inferior cold wave pop bands - is included along with its gloriously compressed and distorted B-side 'Zyklon B Zombie'.
It's insane to think The Second Annual Report came out in '77, the same year as Never Mind The Bollocks. Pause for a moment and reflect on that, then press the buy button.
Sir Richard Bishop (Sun City Girls) and Bill Orcut make for a riveting set of contrasts between their styles on the 1st instalment of Unrock’s Saraswati Series, which has since issued a string of releases from mould breakers and makers such as Eyvind Kang, Tashi Dorji, Ava Mendoza and Sam Shalabi.
Bishop unfurls 20 minutes of spellbinding improvised pan-blues instrumental narrative to leave you either floating or on the edge of your seat with Shades Of Zurvan on the Kali side.
That’s sharply contrasted with Harry Pussy guy Bill Orcutt’s handful of shorter, jagged piece on the Saraswati side, regaling ragged tales of debauchery, astrophysics and geology encrypted into his digit-slicing chops and glossolalic keen. Seriously, how has this guy got any fingers left? Or did he have spare ones to start with?
A key piece of Arvo Pärt’s peerless canon, Für Alina is the Estonian composer’s beautiful dedication to a friend’s 18 year old daughter who had just left to study in London. First performed in Tallinn in 1976, Für Alina has become one of Pärt’s most-loved and widely appreciated works - regarded an early, defining example of his signature tintinnabuli style.
For this reissue, the great Mississippi Records have teamed with Oregon’s The Ajna Offensive to gather their favourite Arvo Pärt pieces as a sort of compilation, rather than a direct reissue of the title piece, which has previously appeared on various ECM releases. It's a lovely and exquisitely well presented package.
It features two contrasting takes on Für Alina, opening with Alexei Lubimov’s, bright, if almost impending and fearful take, which subtly differs from the slower, spacious yearn of Jurgen Kruse’s version on the other side, while the rest of the LP is taken by a number of string variations on Spiegel I’m Spiegel, which has formerly accompanied the title piece on ECM releases.
The other special thing about this pressing is the appearance of Alexei Lubimov’s Variationen zur Gesundung von Arinuschka (Variations for the recovery of Arinuschka), another time-stoppingly wonderful solo piano piece, written by Pärt in 1977, and also the inclusion of Fratres, performed by Vadim Gluzman and Angela Yoffe on violin and piano.
An infinite evergreen.
The London-based jazz experimenters pay lovely tribute to Arthur Russell’s timeless, far reaching styles
“The second Hello Skinny album, Watermelon Sun conjures images of the languorous, dreamy escapism its title suggests. Channelling influences including UK jazz, New Jersey house and Chicago footwork, it’s the melodies – played on trombone, tenor sax and the keys – which are the bright-shining, consistent thread throughout. The solo project of esteemed drummer Tom Skinner (whose other recent projects include Sons of Kemet and Owiny Sigoma Band), the album features influential trombone player and composer Peter Zummo (a friend and collaborator of Arthur Russell, who’s recently released new material on Glasgow’s Optimo label).
Over the past thirty years, dance music has splintered off into a myriad web of different styles and tribes. But in the beginning, things were different: starting with New York’s late ‘70s disco boom, the city’s fertile club scene co-mingled hip-hop, R&B, punk and the avant-garde. For Hello Skinny, that open-minded attitude serves as inspiration for Watermelon Sun. Recorded in free-form, improvised live sessions, it sees that broad-minded club lineage channelled through London’s genre-blurring, jazz-influenced vanguard.”
London’s Nokuit impresses a viscous drone distillation of broken Britain, melding dense, keening electronics with TV, Radio and YouTube samples to give a choking/absorbing, abstract/hyperrealistic and largely unsentimental perspective on blighty from the inside, looking in - conveying a sense of entrapment, paralysed by forces beyond control. Crushingly strong and kinda unmissable for heavier heads, especially fans of Stephen O’Malley, Dave Phillips, Lawrence English.
“NKT presents 'Patterns of Instability', a work of freeform experimental electronic music that moves through dense noise textures, visceral sound design and time-stopping ambient suites. Unfolding over 45 minutes, the new Nokuit album is an absorbing soundtrack probing the pervasive bewilderment of society. It’s a relentless journey where blurred melodies and abrasive soundscapes unsettle our most buried dissatisfactions and inner rebellions.
Swirling drones become a sonic lens which drifts and roams through the currents and threads within the contemporary landscape. Mingling amongst the town square demonstration, flipped upside down through the cameras into the news media rooms and editing suites, dragged up into helicopters looking down into streets and homes, then bounced across the globe by satellites floating in the atmosphere. Spam bots and malware, encryption data, analysis of YouTube uploads and text messages. Rather than focusing in on any specific geographical event, ‘Patterns of Instability’ takes a widescreen approach to our contemporary age of discontent and digs deep into timeless feelings of frustration.
Expanding the peculiar set of expressive tools built over precursor works ‘Analysis Paralysis’ and ‘Reality Disappears After Waking’, here Nokuit’s music reaches its most defined and highly evolved form yet. This is an observation on how we deal with and perceive our reality - whether or not we are in control of it - and our level of acceptance of the constant brainwashing that affects our lives. Each time Nokuit’s music faces the struggle from different angles and in ‘Patterns of Instability’ it zooms in on collective, political and individual battlefields.”
After crossing paths with Kate Carr’s preternaturally sensitive field work on Helen Scarsdale Agency, the sound artist now presents the engrossing 2015 travelogue from a wind turbine to vultures (and back) on her Flaming Pines label.
Recorded during a residency at Joya arte ecologia in Velez Blanco, a mountainous region in S.E. Spain, Carr’s latest offers an intimately close reading of the landscape describing daily journeys trekking up muddy paths with little accompaniment other than distant bird calls, the beating of vultures wings, and inclement, wintry weather conditions, with a steeply immersive and unexpectedly evocative outcome.
Using her ear and by extension the microphone with the precision of a nature photographer, Kate zooms in and documents those sounds that more casual hikers will also encounter, yet may not pay so much attention to without enhanced technological means. Once stitched together in post production to form the two pieces on tape, those sound journeys are recollected as dreamlike trips, segueing from ghostly, windswept harmonics and passages of Áine O’Dwyer-like vox at the start of Ascent, to spots of unnerving lacunæ where you can almost feel the infrasonic heartbeat of trees and the mountain itself, ending up somewhere more light-headed, widescreen at the top.
Likewise, her Descent poetically conveys a sense of strangeness in its description of the mountainside, which feels to come to life with flurries of bird calls, imagined boar growls and barking dogs, vacillating between sensations of relief and caution.
If you’ve enjoyed BJNilsen’s Massif Trophies for Editions Mego, Felicia Atkinson & Jefre Cantu-Ledesma’s Comme Un Seul Narcisse, or Giuseppe Ielasi and Ricardo Renaldi’s Alpi, you’re bound to appreciate Kate Carr’s elevated, surreal perspectives here, too. Sublime.
Jaw-dropping 1st ever compilation of Gökcen Kaynatan’s maverick Turkish electronic experiments and dancers - a mind-melting instrumental array of bubbling drum machines, fuzzed-up psychedelic surf guitars and frothy microtonal synth geometries dating back to 1968. Basically the missing link between Ilan Mimaroglu, Baris Manco and Mustafa Özkent. Finders Keepers absolutely on-the-money here! Unmissable for any exotic disco or Anatolian rock freqs.
“The missing component in the history of Turkish pop and one of the earliest exponents of Turkish electronic music alongside İlhan Mimaroǧlu and Bülent Arel, Gökçen Kaynatan electrified the rock and roll scene of the late 50s/early 60s – sending teenagers wild with his custom built guitars and back lines – helping charge the climate for the birth of Anatolian rock. Then, from the sanctuary of his private studio, he revolutionised the industry with his pioneering use of electronics whilst hanging the sonic wallpaper in the living rooms of an entire generation of telly addicts as in house composer of choice for Turkey’s first national television channel TRT 1. Despite having a modest discography of only four 7” singles to his name his influence is a major current that flows through over 50 years of Turkish pop culture.
Compiled with unparalleled access to his private studio vault, Finders Keepers proudly presents the first-ever collection of Gökçen Kaynatan’s pioneering early electronic works. Featuring a selection of his experimental pop and rock recordings dating from as early as the 1968 it features both of the highly sought after 1 Numara singles – including a never before heard extended version of Evren – as well as previously unheard archive material and songs recorded for and broadcast exclusively on TRT 1 – most of them never to be repeated. In helping Gökçen end his self-imposed 44-year exile from the record industry we can now share with you the first of these important recordings from a genuine maverick who helped shape the face of modern Turkish music, as well as shedding some light on the rise of one of Anatolian rock and pops must fruitful and experimental periods that began with the arrival (and subsequent explosion) of domestic synthesisers on the Turkish scene.”
The Saraswati Series, mostly string orientated, zigzags between the lines where underground and High-Art performance overlap.
"Out jumps the first part of our actively anti-Western sub series : the “Puppet on aString” twin albums!Osama Shalabi, a born Egyptian (best known for his work with Shalabi Effect & Land Of Kush), is an expert playing theOud, a traveler between the eastern and western worlds and long time contributor to the Montreal scene. Sam -whospent the last few years home in Cairo- breathes his own sense of space and time through the epic „Tamara”, an 18minute long melodic, delightful improvisation.
The other story starts in Agouza, Cairo, where Sam Shalabi & Alan Bishop spent some time jamming . They’d run free,lose form, find intensity, and wound up creating a contemporary version of oriental psychedelic free form. A mindblowing, wild, never mellow Cairo night, now documented here. It‘s getting intense: A north-African sand storm.“Mother Of All Sinners” will be released as a one-time limited run pressing on 140g. vinyl. It has an extra heavy de-Luxe cover and a solid printed inlay."
Alex Menzies persists in pushing Glasgow’s experimental envelopes with Other World Music Vol.2
It's an unsettling, immersive suite of psychoacoustic electronic projections that perhaps pessimistically suppose new sonic terrain beyond the new age and modern world music zeitgeists. Some of his most impressive work to date. Comparable in theme and aesthetic with recent works by Sote, Cam Deas, Rashad Becker, Autechre.
A crucial piece of the Loren Connors jigsaw falls into place with this first ever vinyl reissue of Hell! Hell! Hell! Hell! Hell!, now presented on wax some 20 years after the original CD issue thru The Lotus Sound. Leading on from his classic Long Nights [Table of the Elements, 1995], it takes that album’s blues-noise textures into even starker, scorched ground surely irresistible to anyone snagged by his other works, for their anomalous nature if nowt else.
Revolving around 12 works in under 20 minutes, Hell! Hell! Hell! Hell! Hell! is a succinct album that sparks and growls with an anger and anguish that distinguishes it from much of his other work. It’s hardly a rager, but there are flashes of an undisclosed pain that seem to sear thru on the many of the A-side cuts, fulminating dense walls of distorted sound like heavy shag smoke that cloaks your listening space in yellow-grey palls.
He spends much of his energies churning up this intoxicating sound on the A-side, so that by the B-side he’s back to a more reserved, but still gripping, sort of expression, including some exquisitely tender, even barely-there pieces, vacillating between burned-out blues and devastatingly strung-out nocturnes, all with the sort of minimalist efficiency of expression that we really value over here.
Not to be missed!
Ferric experts Hospital Productions host this, the tape edition of Godflesh’s latest sludgy slapdown Post Self, following its LP and CD issues on Justin K Broadrick’s Avalanche Recordings.
This is Godflesh in beast mode, bullishly churning a slightly abbreviated tracklist of 10 tracks (there’s 13 on the formats) that kick off with the feral lurch of Post Self and variously take in Metal club dancefloor juggernauts like Parasite, No Body, and the outstanding, even sexy roiler Mirror Of Finite Light, before taking the vibe downwards, inwards on the spirit-sousing Be God and the dirge of The Cyclic End, before properly baring their gnashers in the diesel-spitting chops and hackle-raising synths of Mortality Sorrow and the grunting tackle of In Your Shadow.
Heavily satisfying. You’ll be picking bits out of your teeth for weeks after chow down.
Re-enter a world of sinister whimsy and oneiric eccentricity with Moon Wiring Club’s YDA of weirdness in Tantalising Mews, a conceptual double album that unfolds as part of snakes & ladders-like boardgame based on a dream by the artist involving decayed discount carpet shops and missed trains. Think ‘90s VHS boardgame Nightmare/Atmosfear, but based in a unchronic steampunk UK town populated by spectral chocolatiers and anthropomorphic apparitions.
The typically surreal sounds on the two discs are intended as a background musicke for the game, with 2hr 11mins of smeared ambient inference and twilight tones that directly correspond to the mysterious Mews of the title - “one of those streets or lanes that you pass every day… the architecture doesn’t quite fit in and it probably looks a bit too swanky for the postcode” - with track numberings designed as integral to the game, whilst also adding a lot of psychedelic complication.
Moon Wiring Club imagines the musicke as a sort of Eno-esque Music For Boardgames which underlines and enhances the gameplay, before subtly increasing the tension in line with the game’s own timeframe. While this has long been a central theme and structure to myriad computer games, it’s fairly safe to say that this is the first time a PS1 Playstation has been used to make the music for its archaic antecedent.
Over the 2CD’s 44 tracks, you’re in for a genuinely beguiling treat, something akin to being dropped off in Royston Vasey at midnight with a mission to find some fancy gateaux, and all the Spars are shut. What ensues is ultimately up to you, as the game may offer some clues, but it’s maybe best to just wander its foggy ginnels of Basic Channel pre-echoes and Philip Jeck-like airs without a map, and simply follow your nose where the vapours take ya....
Moiré gives Lapsus Records’ C.E.E. sub-division a slick start with four idiosyncratic edits of classic and obscure dancefloor vibers landing square between the original sounds of Actress or Trevor Jackson or some hooky Jamal Moss’ edits.
We could be here all day trying to pick out the original samples - which are easy to hear but harder to place (although definitely know two of ‘em) - but basically there’s some delicious Detroit/UK bleep pressure, 2017 style in Drama Garden, a string-swept tribal jammer named Phone Calls, an excellent use of classic Italo snippet wedged into the salty blips and acid squelch of Kode1 Edit, and the wonky triplet donk of Futura for your wiggly pleasure.
UR.’s man from L.A., Santiago Salazar (S2, Galaxy 2 Galaxy, Los Hermanos) lays out his deeply involving, signature take on house and techno in full length format for Rekids
Scattered with proper danefloor gems such as the poised deep house push of Saturated Fear, tweaky acid funk in Aspirations For Xol, and the entrancing hi-tek sophistication of Prolonged Effect, along with some excellent diversions showing off his keyboard flair.
“Aspirations For Young Xol is Santiago Salazar’s second album. AFYX was made from personal experiences ranging from the growth of his son into adulthood, to memories of growing up in Bassett California, a struggling Latino suburb outside of Los Angeles.”
More cutthroat D&B by Seattle’s baddest, sustaining the pressure of his Negative Space album and Traitors EP in four breathlessly taut and fierce new tunes.
There’s two that you really need to know. Heiress is a mean af demonstration of rolling breakbeat pressure and divebombing lixx punctuated with brutal stop/start chops; Nabilone recalls the dankest ends of Soundmurderer’s work for Rewind/Rephlex.
Time Machines is widely ranked among the most important releases by arcane sound chemists Jhonn Balance, Peter Christopherson and Drew McDowell. Now remastered and reissued for the first time under the collective Coil moniker, their classic chemical songbook is primed to irrevocably intoxicate a whole new batch of listeners twenty years since original release.
The now-classic chemical songbook Time Machines is one of the most focussed yet dilated works in all of Coil’s sprawling catalogue, and perhaps one of their definitive releases. It faithfully attempts to emulate or describe the effect of their favourite, mind-expanding psychedelic drugs in sonic terms, conveying their putative virtues thru the abstract contours and complex harmonic definition enabled by modular synths and electronics.
In no small feat of imagination, they take as long as needed for the effect to take hold in each part, with 7-Methoxy-β-Carboline- (Telepathine) modelling the slow, transportive effects of what is commonly known as yage or ayahuasca, and again taking over 26 minutes to really fall under spell of 4-Indolol,3-[2-(Dimethylamino)Ethyl],Phosphate Ester- (Psilocybin), in attempt to reflect the tweaky course of a magic mushroom trip.
Likewise, they reflect the relatively brief effect of 5-Methoxy-N,N-Dimethyl- (5-MeO-DMT) - DMT, my mate Dimitry, or HD goggles as Tony Twitters calls it - with scarily realistic clarity and timing, while 2,5-Dimethoxy-4-Ethyl-Amphetamine- (DOET-Hecate) relays something like the buzzing tone of what is better known as Mcat or khat, or some similar derivative/substitute of speed.
Like the chemicals themselves, the music is best taken under caution, and while results will vary from user to user, the outcome is likely one that will leave its mark on you for a while.
Reenter a world of sinister whimsy and oneiric eccentricity with Moon Wiring Club’s YDA of weirdness in Tantalising Mews, a conceptual album that unfolds as part of snakes & ladders-like boardgame based on a dream by the artist involving decaying discount carpet shops and missed trains. Think ‘90s VHS boardgame Nightmare/Atmosfear, but based in a unchronic steampunk UK town populated by spectral chocolatiers and anthropomorphic apparitions.
The typically surreal sounds on the vinyl are intended as a background musicke for the game, with 40 minutes of smeared ambient inference and twilight tones imagined as a sort of Eno-esque Music For Boardgames which underlines and enhances the gameplay with a not-too-distracting quality, before subtly increasing the tension in line with the game’s own timeframe. While this has long been a central theme and structure to myriad computer games, it’s fairly safe to say that this is the first time a PS1 Playstation has been used to make the music for its archaic antecedent.
On the vinyl, Moon Wiring Club rolls the dice on a thoroughly elusive sequence of eldritch sound, using the PS1’s FX to emulate melted shellac, gaggles of ghosts and the imagined environmental sounds of an eerie parallel dimension that lies just behind our own reality. Of course, you can play the record without the game for equally disorienting effect...
Hour Logic  was Laurel Halo’s 2nd EP under her own name, following her emergence into underground consciousness with King Felix  and the Antena  tape which we still remember snagging our attention way back when.
It was one of the striking jewels which turned a lot of folk onto L.A.’s pivotal Hippos In Tanks label, which has been defunct since 2015 following the untimely death of its influential proprietor, Barron Machat. We’re not sure if this re-release reactivates the label proper or not, but, either way it serves a strong reminder of that exciting phase in electronic music, as well as a fine measure of just how brilliant Halo was at the start, and how far she’s travelled since then.
Over its six songs/tracks/imagineerings, you can hear all of the elements which in place which Halo would later refine into some of the most unique astro-R&B-techno in circulation right now. Detroit funk, kosmiche impulses, indie-R&B vocals, new age pads - they’re all there, tessellating in Laurel’s floating, hardware-sculpted hyperspace with the sort of hi-tek jazz spirit that links the likes of her roiling tribal bewt, Head, the adroit rave ecstasies of Speed of Rain and the glorious Strength in Free Space to her latest releases.
ESP-Disk toss this Ayler / Cherry bomb back into the ring more than 53 years after it was conceived to soundtrack Michael Snow’s film, Walking Woman - or New York Ear and Eye Control, as it’s also known.
Joined by John Tchicai (alto sax), Roswell Rudd (trombone), Gary Peacock (bass), and Sunny Murray (drums), they swarm and rove the soundfield of Snow’s NYC loft on July 17th, 1964 with anarchistic, freely improvised democracy that mirrors the streets and sounds storeys below the session.
Gorgeous and thought provoking split LP from these two notable synthesists. Kubisch contemplates Nicolai Tesla and his concept of electrical remoteness as it applies to the modern world, making use of electromagnetic field recordings from tramways, analog machines, light systems, power stations, airports, banks, secrity systems, advertising and the sounds of discharges and activities of Tesla's own devices - recorded all over the world. Eleh's composition makes use of a new kind of spaciousness and was composed for piano & Serge STS modular synthesizers. Though Tesla was not a consideration when the piece was recorded, it takes on a new meaning and is well paired with Kubisch's.
From Christina Kubisch:
"The fgure of Nikola Tesla has fascinated me since a long time. He was the person who imagined wireless communication in an era when there was hardly electricity. He was the one who invented radio controlled devices and other new technologies beyond the generally known limits of technology. Tesla had been picking up radio signals in New York since 1895 receiving them as far as thirty miles away. He wasnot only an inventor whose work was the basis for the development of many electrical inventions and communication techniques of today but was as well a very special person, a visionary who was inable to realize many of his ideas because of money problems and as well his “diffcult” character.
I discovered his work during my studies of electronics in Milan at the end of the seventies. In that period I started to use the system of electromagnetic induction for my sound installations. Tesla had invented and patented the frst telephone amplifer in 1882 in Budapest and, without knowing about its origin I used a simple telephone amplifer with incorporated small coils to listen to the sounds in my installations.Later on my work with electromagnetic induction had developed into the series “Electrical Walks”, city walks with special headphones which make audible the usually hidden electromagnetic felds around us. In 2012 I visited the small museum of science in the city of Kosice in Slovakia. The museum had many Tesla devices in their showroom and I got a special permission to test tem. I listened with my special induction headphones to the Tesla machines and was fascinated: a thunderstorm of electromagnetic noise. It was the moment when I got inspired to make a piece aboutelectrical remoteness. Tesla grew up in a remote small village in Austria (now Croatia) where electricity, radio, cars, telephones, movies etc. were unknown. As a boy he loved nature more than everything else. But already at the age of 36, in 1893, his inventions made it possible that the world expo in the city of Chicago was illuminated by one hundred thousand electrical lamps.
The new technologies concerning light, radio, radar etc. were developing with such an incredible speed since then like today the components of the digital world. I always asked myself what Tesla would have thought about the internet, google, twitter, facebook, apps etc. Was this the vision he had in mind when he invented his system of wireless transmission of electrical signals? His working places were full of big heavy coils, oscillators, metal towers etc. by which he tried to transfer energy without wires. Today we almost forget that digital communication and storage is not based only on invisible remote waves in the ether but that it needs server rooms which are much bigger and heavier than Teslas equipment. “Teslas Dream” opens with the magnetic felds recorded in an old Austrian train station followed by the electrical melodies of old Tatra tramways in Bratislava (now almost disappeared). The sounds of discharges and activities of Teslas devices gradually come in. During the piece the electromagnetic signals change gradually from the sounds of analog machines to the more actual felds of light systems, security systems, power lines, banks, subways, airports, power stations etc. Various electrical signals of digital communication slowly merge in and change again the sound structure. The composition ends with the sounds of a luminous advertising, recorded recently in a shopping centre in Las Vegas, accompanied by the faint vibrations of other signals from the ether. Tesla wanted to reach the most remote places of the earth with electrical energy. Nothing today is remote anymore.
The glass armonica (an original instrument from the 19th century) was recorded at the Musikinstrumentenmuseum in Berlin. All other recordings were made with electromagnetic headphones and other custom made devices developed by Christina Kubisch. The original electrical feld recordings were made in Austria, Germany, Slovakia, Britain, Czech republic, New York, Las Vegas and the Hoover Dam."
Cooper Crain, Dan Quinlivan, and Rob Frye head for the horizon on their newest Bitchin Bajas buggy, leading on from a 2016 tour and series of collaborative live releases with Bonnie “Prince” Billy and Olivia Wyatt.
Sharing its title with a chain of Tex-Mex restaurants in the USA, Bajas Fresh catches the trio at their earthiest and lushly psychedelic, naturally sprawling their classically-schooled, dilated vision of krautrock, kosmiche and North American drone and space jazz traditions across seven tracks.
Notably, they embed a beautifully sanguine cover of Sun Ra’s Angels and Demons at Play in the album’s sequence, sweat-lodged among the astral coordinates of Circles On Circles and the windswept jazz of Yonaguni featuring Ghost’s Masaki Batoh, before syncing with a rich history of transcendental drone exploration in the magnificent, side-long and sidereal scope of 2303, where they consolidate contributions from Nick Broste (Trombone), and Ben LaMar Gay (Cornet) into its deeply anaesthetising harmonic smudge.
Available officially for the 1st time this decade, Geinoh Yamashirogumi’s dramatic Symphonic Suite Akira arrives just ahead of the seminal sci-fi animation’s 30th anniversary. This is a facsimile reissue of the original Symphonic Suite Akira album, featuring original unremixed and complete versions mastered from same files as the 1988 release. This is not the version with dialogue and all the madness!
The ten track Symphonic Suite Akira essentially documents the film’s sonic architecture - a magisterial blend of musics from around the world, meshing the disparate systems of Bulgarian choral music, Buddhist Temple chants and Balinese gamelan in a lushly complex alliteration of sounds which framed the film’s post-apocalyptic Tokyo backdrops and cyberpunk themes.
It took Shouji Yamashiro and the 200 musicians, engineers, scientists who comprise Geinoh Yamashirogumi over six months to make Symphonic Suite Akira, apparently recording with an effectively limitless budget, and it shows. At the time of release this was an ambitiously proggy effort in consolidating various harmonic systems, building on the technologically enhanced examples of YMO and early ‘80s 4th World styles in the grandest style.
It may not contain anything quite so immediate as, say, Kenji Kawai’s OST for Ghost In The Shell, but it’s a different thing really, with a different story to tell, and it does so beautifully.
Rainforest Spiritual Enslavement’s amazing first release is the final instalment in this reissue series remastered by Paul Corley and cut to vinyl for the first time after its initial release back in 2012 as a 4 x Cassette release made in a run of just 16 copies. It features 40 minutes of dank psychedelic ambience, reanimated and spatialized with hi-end studio black magick.
Completing the reissue cycle of Rainforest Spiritual Enslavement’s ambient invocations, Papua New Guinea  is rendered in this new remaster by Paul Corley (0PN, Tim Hecker, Ben Frost) and sacrificed to vinyl for the first and last time on Hospital Productions. Slotting alongside 5 previous vinyl reissues of the original tape editions released over the last 12 months, Papua New Guinea loops back to the start of the saga, affording a clearer and more immersive way into one of Dominick Fernow’s most (oc)cultish projects.
The eight track dosage of Papua New Guinea generated a wave of speculation as to its shadowy provenance back in 2012. It sounded little like anything else in circulation and left heads genuinely floundering for answers to its riddling track titles and extreme aesthetics; a steeply evocative combination of near-infrasonic sub-bass tones and cold but humid environmental sounds laced with slow, looping, tribal rhythms.
It took at least another year before the project was revealed as an outlet for Hospital Productions capo Dominick Fernow, who had been quietly taking the opportunity to explore a sound putatively unfamiliar to his better known projects. Yet, with hindsight, it’s now easier to hear RSE as an inverse, endothermic alternative to the raging energies of his Prurient output or the searing, propulsive combustions of Vatican Shadow, for example.
In stark contrast to proceeding instalments’ increasing track lengths, Papua New Guinea is comprised of eight relatively concise parts, with each side of vinyl relating to one of the original tapes. The A-side seeps into consciousness in frightening style with Paul Corley’s remaster now bringing the long, slippery sub-bass descent of There Are Many Powerful Spirits Living In The Hills And Stones And It Is Not A Good Idea To Disturb Them to life with uncanny psychoacoustic subtlety, before hypnotic rhythms take possession for the duration and the listener is eventually deposited at the bombed-out ambient ecology of The Spirit Was Angry And Froze The Bulldozer So It Could Not Move. The Bulldozer Is Still There Today. What occurs between those points defies description in the manner of the strongest psychedelics, and likewise, requires deep immersion for full comprehension.
Taking Place In The Foyer was originally released in a run of just 14 copies on double tape back in 2012 and is now available on vinyl for the first time as part of the ongoing Rainforest Spiritual Enslavement reissue series.
The newly remastered, first and last ever vinyl cut of Taking Place In The Foyer forms the penultimate instalment in Rainforest Spiritual Enslavement’s necessary reissue scheme. Originally appearing second in the series, it then served to only heighten the enigma of a project which was, as yet, undisclosed as the work of Dominick Fernow, who’s maybe best known for his transgressive Prurient output, and the Muslimgauze-inspired rhythmic reportage of Vatican Shadow, as well as overseeing the ever Hospital Productions imprint.
On its original release, each of RSE’s hand-duplicated and super limited tape editions were rabidly devoured by Hospital Productions disciples with little or no firm knowledge of the project’s provenance, this one included. Understandably they became coveted items for hardcore disciples and new admissions to the label’s occult mass alike, often fetching multiples of the original retail price on the 2nd hand market.
Taking Place In The Foyer is among the most cherished of the early RSE instalments. Following and diverging his unheimlich path, these four tracks find Fernow broadening his temporal scope and entrenching the spirits farther from home, covering bleaker terrain with the trudging momentum and shuddering conclusion of Spot A Witch By Changes In The Person’s Behaviour, whereas In New Guinea Police Don't Have The Petrol Money To Search For The Witch Murderers locates him toiling aleatoric at some dank workshop, and the unanswered CB radio crackle of Bodies Of Suspected Witches Are Dumped In The River Or Buried In Toilet Pits sets up the petrifying closing scene of Sorcery Killings.
RSE can be taken as a minimal, supernatural-focussed adjunct to Vatican Shadow's war commentary, invoking a more abstract, visceral and haptic sound, leaving us stranded in a tropical-rain streaked AR soundscape....