Mosca barrels out on a proper, acidic UK steppers flex with the sprung dubs of Prento Version and Fever Version for Lavalava Records, a new facet of Bristol’s Rewind-Forward squadron.
A-side gives up the the bone dry drums, singeing melodica leads and acid-etched bassline of Prento Version inna Jah Shaka’s style, tucked with sparing but well placed horror-movie synth vamps and spaced out to the max with corkscrewing, range-finding FX.
B-side is Fever Version, a slow burner from backa the echo chamber, run ruddy and mutant like a long lost Jammy’s digi nugget produced on a prototypical, bio-organic Casio keyboard that runs off mashed hard food and marijuana.
Future Times pull US house and techno mainstay John Selway into their fold with two subtly contrasting dance trax.
A-side’s Shimmerdown is a fine lesson in deferred gratification, taking the first few minutes to establish a lissom tension with vaporous jazz chords and low lying Reese bass that eventually precipitate a pendulous, weightless garage house groove with subliminal subtlety.
B-side, as Seltav, the same producer gets down to a deep, driving house sound rolling off straighter kicks and frisky disco bassline into swirling dub chord ethers.
Longtime associates and Magic Mountain High m8z, Move D and Jordan GCZ (ov & Jordash fame) cook up two killer, deep electro-jazz-house courses
On the latter’s Off Minor label, unfolding the slinky, kinky analog trip of Urgence 1 on the front, and then taking that louche Kunststoff vibe even smokier and spectral on the B-side’s Urgence 2.
Tessela and Truss’ convulse a 3rd Overmono session, scaling from elegiac synths to ragged jungle-tekno and back again over the course of four tracks.
Inulin skates in on icy bed of synths to flex out like a long lost Jega ace, then Phase Magenta launches into rumbling, tranced-out ‘ardcore tekno pressure, and Pom follows a more squashed and slaty line of enquiry somewhere between Andy Stott and Arca, with the beatless synth orchestration Harp Open bringing matters to a majestic, ecclesiastic/ecstatic close.
Limber deep house by the Baltimore baws
Carrying an effortless momentum between the sub-stroked swang and melting chords of The Power, thru ruggeder broken beats in K II S, and an itchier re-lick of The Power by Atjazz.
Rogue white label styles from some G called Tribe Of Colin on John T. Gast’s 5 Gate Temple - ayyyye, you do the math…
The follow-up to Tribe Of Colin’s 2015 tape/digital release Fruits Of Zion retains that issue’s sense of mystery and dread intrigue but packs more dance-driving energy this time around.
Noir Body (the message) locks into the A-side, leading off with a downpitched sample of Sun Ra (?) and stretching out a heaving, chugging tract of blunted fantasy dance.
B-side is better yet, with Lion 5 sounding like a ritualistic after-hours Spiral Tribe techo-steppers cut, then dropping out into a dub wise Skit, and hustling up the flailing drum drums of Lead & Demonstrate for advanced, air-carving movements by hypnotised bodies.
Consummate collaborator Fred Walmsley aka Dedekind Cut tags in Mica Levi, Prurient, Elysia Crampton, Jesse Osborne-Lanthier, Dirch Heather, and Zack Hill for a multi-tiered, heavily abstracted session following from the $uccessor album for NON, his American Zen album with Hospital Productions, and collabs with Chino Amobi and Rabit.
Yeh, he’s been a busy cat of late, and his latest self-released trip, recorded between fall 2016 and summer 2017 shows no sign of that creative energy abating. In almost palindromic form, The Expanding Domain rises and falls with absorbingly dramatic cadence, entering with the decompression chamber ambience of Cold Bloom and the escalating terror of Lil Puffy Coat in solo mode, to bring in Dirch Heather’s soured synths and Osborne-Lanthier’s deconstructed EDM palette on the unrelenting anti-banger Fear In Reverse II, then calving off into an electrical storm with Prurient on the title cut, and bringing us back to a numbed null point with Mica Levi’s silvery piano refrain and Elysia Crampton’s angelic touch in Das Expanded, Untitled Riff.
If you were in any doubt as to this guy’s breadth of vision, this EP will see you right.
Stunning retrospective of Alice Coltrane Turiyasangitananda’s devotional works collated from the private tape archive of the Avatar Book Institute. Seriously, this one's a proper head melter...
Luaka Bop commence a new series of releases themed around the global spiritual diaspora with this superb collection of rare devotional works from Alice Coltrane. Sure, everyone knows how great ‘Universal Consciousness’ (especially after that Superior Viaduct reissue from a few years back) but ‘The Ecstatic Music of Alice Coltrane Turiyasangitananda’ hones in on a period of her life that is less widely-known.
Undoubtedly moved by the passing of her husband John Coltrane in 1967, Alice embarked on a spiritual reawakening that took her out of the public eye and culminated with the establishment of a 48-acre Sai Anantam Ashram in Malibu, California in 1983. This secluded ashram gave Coltrane the freedom to explore her spirituality through music unfettered, performing countless solo bhajans, and group kirtans and experimenting with them and synthesizers using the complex structures learnt from jazz.
These would soon form a series of cassette recordings that were privately distributed throughout the ashram community on Coltrane’s own Avatar Book Institute label. After some rather iffy, illicit vinyl editions of those tapes recorded off YouTube made the rounds, it’s good to hear this music in newly-remastered form from the original masters (by engineering legend Baker Bigsby, no less) on this Luaka Bop collection.
And how vibrant it sounds! There is clearly a vast intersection of styles at play throughout, interspersing the spiritual incantations of the Vedic devotional chants with some unique song structures and uplifting synthetic experiments. You can easily foresee the likes of Flo Po, Antal and Four Tet playing Oh Rama and Rama Guru, two of the more rhythmically-bound kirtans that act as spiritual jazz precursors to Detroit techno with illuminating synths that would make Carl Craig blush with envy. At other times, it is Coltrane’s voice which acts as the guiding force, orchestrating a wonderful harmonious call on Om Shanti.
Hopefully this is the prelude to a wider LB campaign of Alice Coltrane reissues from the Avatar Book Institute era.
Remastered edition of Throbbing Gristle's best known and most suavely subversive LP, the one that completely re-defined the meaning of industrial music.
Referencing the band's influences outside of the avant-garde - among them ABBA and Martin Denny - it's the most outwardly accessible thing they ever recorded, but it's not without its harder, grimier moments, like the pummelling 'Discipline', with P.Orridge barking orders at you like the SM drill sergeant of your nightmares.
The shorter instrumentals are especially satisfying: we open with the droning, dysphoric ambience of 'Beachy Head' (think Eno's On Land via Lustmord), a paean to the suicide hot-spot that appears on the album's cover, while 'Tanith' and 'Exotica' sound like a seriously strung-out, sleep-deprived jazz ensemble channelling Aphex's Selected Ambient Works II.
Of course it's the "pop" numbers which stand out: Gen has never sounded so drolly superior as on 'Convincing People' and 'Persuasion', while the Cosey-vocalled, Carter-helmed 'Hot On The Heels Of Love' remains an absolute game-changing masterpiece, its influence on techno, disco and electro-pop as profound and palpable today as it ever was.
Stop listening to what you're listening to, and listen to 20 Jazz Funk Greats instead.
An excellent Arvo Pärt primer...
"Arvo Pärt creates music of deceptive simplicity, and listening to his work can be a transformative experience. Imagine taking your ears on a retreat, and you’re some way to understanding why his work is so popular.
The Estonian composer underwent his own transformation in the 1970s, having explored dense avant-garde music in the early part of his career. He put himself through an eight-year creative exile, and emerged with a new, purer voice. The Arvo Pärt that many people are devoted to today (including R.E.M.’s Michael Stipe and Björk) creates music that cleanses. A sonic detox."
Rod Modell returns to Soma with a slow-baked batch of rolling dub techno in Auratone some two years since Ultraviolet Music and reissues of myriad, related projects over the interim.
This is full fat DeepChord, swollen with bass and bristling with combustible, oxidising textures that their legion disciples will relish. Includes some sweeter highlights in the roving subs and dancing melodies of Wind In Trees and the insistent mesh of ghostly, pealing partials with pneumatic bass in Point Reyes.
“A foray into deep, organic, cinematic dance music. Subterranean bass, intercepted alien transmissions, and stripped down dance-beats meld with sheets of sounds that roll over the listener like waves lapping up on the shore. Shimmering, watery, brain hemisphere synchronization tones caress and melt stress away. Dance floor friendly tracks that work equally well in one s private listening space. Immersive music with a distinctive aquatic quality. Inspired by Detroit & Berlin s dance genres, but tempered by more ambience / atmosphere than one would expect from those genres. Music without harshness or rough edges. Fuzzy, out-of-focus, soft-sounds that slip in and out of the listener's consciousness.
Uniquely melds current dance rhythms with lushness and spirituality. Synesthetic sounds that trigger sensory experiences in cognitive pathways other than hearing smells of perfumes, thoughts of colours, and altered perception of time and space. Psychoacoustic, cerebral, electronic listening music for those wanting a different experience than the current harsher, darker dance trends are offering. Responsibly made gentle music designed from the ground-up to have a positive effect on the nervous system and leave the listener invigorated and recharged. Chi-building sonic balm. Timeless, exotic dance tracks for a new school of electronic music enthusiasts who are searching for beautiful sounds, crafted with a higher purpose in mind.”
Belgium’s JJ Funhouse follow up aces by Mittland Och Leo, Milan W. and Gust De Meyer with this archival survey of Hanjo Erkamp’s synth-curious solo work as Dr C. Stein with Selected Works 1983-1988, dating back to his time with minimal wave faves Ende Shneaflet and Doxa Sinistra and their Trumpett label - which has previously been given the V-O-D reissue treatment. Considering that background, the vibe is mostly lush, bright and creamily melodic, just how the vinyl looks.
“Dr. C. Stein is the name Hanjo Erkamp used for his solo work. Being a big part of the Trumpett tapes-family, he was also a member of the industrial outfit Doxa Sinistra and a crazy studio collective called Ende Shneafliet. This band was responsible for more then 70 tracks of minimal wave madness, not bad knowing they existed not much longer than two years.
Trumpett tapes was a tape label operating from the island of Texel and the village of Heiloo in North Holland between 1981 and 1985. They were spewing out releases made by a changing combination of people, all being part of a circle of five like-minded souls: Frank Brinkhuis, Edwin Brinkhuis, Jan Popma, Brian Dommisse and the doctor himself: Hanjo Erkamp. The Trumpett members operated from their homestudio where they managed to create a new electronic sound. Being more close to the North Sea then any dark urban area, their take on the doomy template of New Wave was rather airy and often cheeky, without losing the minimal stomping force and brutalist fun found in home taping. They created tunes that were as strong, if not better, then the ones made by their better known peers.
From 1997 on, Trumpett tapes became the Trumpett label and started releasing CD-R’s filled not only with this old tape-work but also with selections of well kept nuggets from a staggering vault of unreleased eighties recordings. With the new love for early synthesizer music and all things minimal and wavy, Trumpett’s fame was getting bigger and labels like Vinyl on Demand, Enfant Terrible and Treue um Treue began releasing parts of this treasure on limited vinyl.”
Dutch electronic music veteran Michel Banabila’s earthy ambient works Trespassing / Marilee make up the excellent 2nd release on Séance Centre, a promising new label extending the reach of Invisible City Editions’ Brandon Hocura.
The 1st disc spies material written over the last 20 odd years, acting as a bridge between work made during his years in an Amsterdam squat and his contemporary practice, taking in slanted tribal rhythm trips, finely sculpted ambient wormholes, and daubs of ambient boogie recalling K. Leimer and co, all manifest thru myriad synth voices and haunting electro-acoustic space.
Banabila’s debut album Marilli  is given its first ever reissue on the 2nd disc. Now sought-after and expensive on the 2nd hand market, Marilli is one for hose sides that needs to be heard to be believed, as he basically offers a DIY, squat-built take on Eno and Byrne’s My Life In The Bush Of Ghosts that charmingly sounds like that classic record, but much more lo-fi and frayed around the edges, as though half recollected from a heavy LSD trip.
Finders Keepers come up roses again with dazzling, never-before-heard live documentation of two Buchla 200 concerts recorded in 1975 by Suzanne Ciani. Rightly heralded as “a distinctive feminine alternative to The Silver Apples of the Moon”. The words “Holy Grail” and “revolutionary” spring to mind! Remarkable stuff for any synth fetishists or historians of the future.
“This spring Finders Keepers Records are proud to release an archival project that not only redefines musical history but boasts genuine claim to the overused buzzwords such as pioneering, maverick, experimental, groundbreaking and esoteric, while questioning social politics and the evolution of music technology as we’ve come to understand it. To describe this records as a game-changer is an understatement. This record represents a musical revolution, a scientific benchmark and a trophy in the cabinet of counter culture creativity.
This record is a triumphant yardstick in the synthesiser space race and the untold story of the first woman on the proverbial moon. While pondering the early accolades of this record it’s daunting to learn that this record was in fact not a record at all… It was a manifesto and a gateway to a new world, that somehow never quite opened. If the unfamiliar, modernistic, melodic, pulses, tones and harmonics found on this 1975 live presentation/grant application/educational demonstration had been placed in a phonographic context alongside the promoted work of Morton Subotnick, Walter Carlos or Tomita then the name Suzanne Ciani and her influence would have already radically changed the shape, sound and gender of our record collections. Hopefully there is still chance.”
Move D gives a rare glimpse of himself in the ‘80s, strumming out Bossa #1 on guitar and a loop station.
For this release he chose to to work with boutique german label, Polyfon, who’ve previously issued a coupla aces by Lowtec. They task Le Rubrique to a rolling minimal house mix layered with glossolalic vox, while The Hangout Project make it sound like Antena easing off by the Hamburg docks, and Ugly Drums & Chesney pull the same elements closer to some Theo Parrish or Dego style.
Led Er Est’s Sam De La Rosa strikes cold and emo on his 2nd solo 12”, pursuing the feels of his Chameleon debut into a pair of icy minimal wave songs plus two expressive instrumentals.
Sam’s well skooled songwriting chops bloom into play on the A-side with the jagged, cyber-gothic slow burn and swooning vox of Earth Wart, and with a steelier bite offset by sensuous, druggily emoting vocals on I Hear The Swine.
On the B-side he drops the vocals in favour of more layered, melodic synth work, resulting a real gem in the Silent Servant-esque dark dancefloor kink of Racist Cops On A Jog, before fading out with the wilting neo-folk guitar and electronics cadence of R.E.D.
Terekke takes L.I.E.S. over the 2017 finishing line with his sublime debut LP, Plant Age - the label 100th release. If you’ve been wowed by his handful of Terekke 12”s to date, take it on trust that this one’s his best so far. For everyone else, this is some of the loveliest, fugged-out deep house you’ll hear all year.
In the mould of his much loved singles, Plant Age finds the Amsterdam-based producer lushing out in eight ways, all linked by the classic spirits of deep, ambient and dub-house styles. It’s surely an analogue bubblebath for the soul - the kind of careful, caressing music to put on at any time of the day to ease your worries.
With xanax-like efficacy, he conducts a deeply anaesthetising drift from the watercoloured chords and elusive, Sprinkles-like bass on Tack thru cotton-built deep house in BB2 and delicicious, barely-there ambient structures in Swim, then sending gentle shockwaves thru the smoke with his doubles stepper Mix91, before pushing off into purely opiated 4th world zones in JQM, and kissing off with the aqueous smudge of Closer.
Gorgeous ambient music. RIYL Satie, Elodie, AFX, Eno
First Meeting, as the title cannily suggests, forms a very welcome introduction to the wonderfully charming and expressive ambient music of Belgium’s Dominique Lawalree. Aye, we’ve never heard of him before, either. But he’s been recording since 1976, almost appeared on Brian Eno’s short-lived Obscure label and counts Gavin Bryars a long time friend and fan of his music, so consider this first-ever retrospective of his recordings as an essential catch-up.
Entirely drawn from self-released titles c. 1978-1982 on Lawalree’s Brussels-based Editions Walrus (what a name?!), First Meeting reveals a quietly sublime and intimately idiosyncratic sound in nine parts - so quiet and intimate in fact that we feel like a privileged fly on the high ceiling of his apartment studio, twitching our antenna whilst the baby-faced maestro sups an Orval and strokes his keys and synths into thee sweetest tapestries.
In the enlightening liner notes by Britton Powell, Lawalree’s music is perfectly described as “wallpaper; ornate and repetitive” when compared with the music of Satie and Eno, with whom he clearly shares an affinity for subtle and meditative musicality, but the distinction lies in the inherent surreality of his music and its ability to entice and encourage closer listening, where the others tend to be background or static.
There’s a beautiful nuance of consonance to his music that tantalises the ear with its warbling harmonic complexity and elegant pacing, yet it’s never challenging; always with a careful pop-ness that points to his equal appreciation of Satie, Feldman and Stockhausen as much as The Beatles or Led Zeppelin, the latter of whom he’s currently working on a series of books analysing their music second-by-second, and has led him to meetings with The Beatles’ engineer, Geoff Emerick, where he pointed out mistakes in the classic recordings which nobody else has ever noticed.
Ah this record is just a dream. Warmest recommendations.
At bleedin’ last, Cosey Fanni Tutti’s legendary solo album, Time To Tell  sees a proper, if edited, official vinyl reissue - MAGAZINE INCLUDED! - on her and Chris Carter’s Conspiracy International label. In fact, with Cosey’s utterly mind-blowing autobiography, Art Sex Music now in circulation, putting history to rights and stoking febrile interest around her inspirational, nonpareil oeuvre, the timing could hardly be any better to reissue her most sought-after and inarguably definitive solo release.
First issued on tape in 1983, some years after the initial demise of Throbbing Gristle and the start of of Chris & Cosey, and just prior to the emergence of their multimedia CTI alias, Time To Tell documents Hull’s greatest daughter, Christine Carol Newby aka Cosey Fanni Tutti, ‘fessing all about her long-running art praxis involving a deep penetration of the British sex industry - from nude modelling to striptease and transgressive performance art - all set to her signature, exploratory electronic sculptures and drily angelic delivery.
For this hugely important reissue of Cosey’s only solo record (yep, only!), she worked with husband and creative partner Chris Carter to edit the original two track release, trimming down some of the longer parts to optimise audio fidelity, and also incorporating The Secret Touch which was included on the Time To Tell (Special Edition) CD release in 1993/2000.
Thus the release spies three distinct strands or aspects of Cosey’s sound. The first, longest and most comprehensive is the LP’s title track, which, as far as we can tell, appears in a slightly abridged version, but still ties up all her key sonic themes, from pulsing, sensuous synths, sky-licking guitars and brittle drum machines to her achingly seductive Yorkshire accent, drily recounting her experiences and inside/out perspective in the sex industry. Tell us this isn’t one of the most alluring 20 minutes of the ‘80s ever recorded, and we’ll tell you to do one.
Ritual Awakening comes on the B-side. Here the drum machine drops away and Cosey’s hushed vocals take a new, diaphanous form, refracted in a diamond-cut prism of electronics with near-cinematic strings, feeling out unreachable edges of the lushest void. Then we’re stranded in The Secret Touch, where her sallow synth strokes hint at an aquarian sort of new age, melding with reverberating, Denny-esque guitar against an unfathomable backdrop of possible field recordings and almost raga-like drones on her signature Cornet.
We could hammer on about this one all day, but suffice it to say: this is a totally essential purchase!
Perfectly elusive pop, ths second eponymous 12” from CS + Kreme for Canada’s Total Stasis proves that their 1st EP - one of our favourite releases of 2016 - was no fluke, but rather the foundation of a genuinely sublime sound.
This one knits in contributions from Nigel Lee-Yang ov close associates HTRK, plus flute by local peer Ela Stiles (Bushwalking, The Rangoons) and sax from Jack Doepel, to reveal subtle new shades and aspects of a heart-rendingly classic style.
Dispatching a necessary dose of dusky, southern hemisphere feels to our chilly northern swedes, Conrad Standish and Sam ‘Kreme’ Karmel (F Ingers) have us utterly rapt again with four mirage-like songs that place Standish among the underrated songwriters of recent times, while finding Karmel fluidly firming up the more abstract inclinations of his work alongside Carla Dal Forno in F Ingers for Blackest Ever Black.
Recorded as intimate “jams” with their pals, the four cuts testify to a knowing, close relationship between the duo and their associates, the sort of mutual familiarity that makes listening to their recordings feel somehow voyeuristic or as though we’re privy to a deeply private sound.
Their sound is anything but unapproachable. In the EP opener, Whip, featuring Nigel Yang’s seductive guitar glances laced to feathered 808 and gorgeous, willowing string arrangement, we hear a sort of follow-up to the coolly insistent resolve of Devotion from the 1st CS + Kreme record, while Sisters is darkly alluring thanks to the unaffected modesty of Standish’s vocals and the mutable sensuality of Karmel’s deliquescent synthlines and filigree dub-trap tics.
And they aren’t even the strongest songs. For us, they come on the B-side, in the form of instant classic Roast Ghost (Swimming Thru The Pillars Mix) with its fathomless and incredibly evocative sound field coloured by plaintive keys, a super hushed Standish and that 808 patter, before Portal polishes us off with plunging bassline, noirish piano plumes and one of the most gripping sax lines you’ll shiver to in 2017 - imagine Vazz and Wim Mertens jamming after a quarter of opium-laced hash.
A massive recommendation!
Squashed, bouncing house dubs
“Optimo Trax presents a 4-track EP from Germany’s Mathias Schober, head honcho of Berlin’s Lossless label. As always we prefer to let our artists do the talking. Here’s what Mathias has to say about this release -
The idea behind all tracks on the EP was a simple setup of drums and one synth that would do a main sequence/sound, yet there’s a lot of detail in all of them. ‘In A Certain Way’ features a 808ish beat with a main sequence coming from a tiny monophon synth called Atmegatron - 8Bit love, it turned out being much more music than I thought it would be when I set everything up.
‘But What Rules Are Made For’ is the same setup but the sequence is a 101 and so are all the washed out fx synths. On ‘Is To Break Them’ I went a different route, I had the dub, delayed stabs synth first as I was messin’ with my Moog and a Space Echo - which btw is used on every single track I release, if you haven’t noticed yet.
So I was trying to build something around those stabs in order to fit the track to the others and so I ended up with another sequence coming from my Moog. As there was still space on the record, I decided to add an ambient version of ‘Is To Break Them’, I love the ambience on this track. I hope that my love for dub sounds is obvious enough on these tracks. Happy I found such an excellent home for the EP!”
From the Rühr’s genteel capital, Wuppertal, Colkin cocks the chummy deep house chuff on No Rush
Plus a synth-only Dream Synth miniature, and a hyaline mix form Luv*Jam that sounds like Palmistry, before Wuppertal’s own Maria Basel lends thizzy, cassy-esque vocals to Luv*Jam’s Dream Nip version, and then left floating a cappella on the Dream Vox mix.
Kalbata jacks his mystic, dub-wise trade at house tempo for Optimo Trax
Cosign up with what sounds like spy-trance at half speed and fronted by a flute-playing imp on Enkuan Pt.1, then on a slippier, Dozzy-esque trip in Pt.2, before that flute player comes back in to earn some more acid tabs on Pt.3.
Swanging electro-jazz-house knockers, plus one killer Urban Tribe or DJ Dez-style Detroit hip hop nugget in Summary
Closing out the year with a 4 track EP from producer Colm K. Inspired by a variety of styles and musical sources with one common thread throughout: samples. 2 tracks for the dancefloor and 2 dusty reprises, most of the music found here is a collage of sounds that zig zags from the soulful thump of Seeing to the laid back strain of Summary.
The excellent Athens-based label 'Into The Light' collects these beautiful early and unreleased works by New Age synthesist Vangelis Katsoulis composed between 1987 and 2012. We first encountered Katsoulis' music on the exquisitely-curated 'Into The Light: A Journey Into Greek Electronic Music, Classics & Rarities (1978 - 1991)' in 2012, and this LP gives privileged access to his personal 4th World of lucidly conscious electronics via eleven sublime pieces. Some are taken from his long-out-of-print late '80s works 'The Slipping Beauty' and 'Celephais/Throught The Door Into A Dream', while others were birthed as recently as 2012, yet all are undoubtedly the work of a singular, unshakeably utopian mind. Don your freshest whites, open all the windows and make yourself comfortable, this is quite a trip.
Into The Light slot another cryptic piece of their cosmic puzzle with a lush haul of previously unreleased ambient and synth works by Akis Daoutis, who previously appeared on the label’s breakthrough compilation A Journey Into Greek Electronic Music, Classics & Rarities (1978-1991), and whose 1990 debut LP provided direct inspiration behind the label’s enigmatic moniker.
On Space, Time, And Beyond (Selected Works 1986-2016) Daoutis offers a serene mooch around his sprawling gardens of electronic delight, pulling together tracks written at home in Athens and abroad in USA where he was studying during the mid ‘80s - spanning material from as far back as 1986 in the cascading beauty of Christmas, which could almost be cut from a cords and woolly jumper John Hughes flick, thru to the breezy rhythmelodic patterning of Into The Light off his aforementioned debut LP, and right up to the introspective electro-acoustic probe of My Haunting Sins, written as recently as 2016.
It’s clearly music that comes from a sunny place, blessed with a sense of optimism between the radiant synth shimmer and swallow diving clarinet of Biofields and the fluttering up-lift music parts of New Age Rising - taken from a sought-after 40 minute composition - and with a phosphorescing duskiness that keeps the sand warm between your toes in Beach Ambience, diffracting that energy into myriad variations such as the jazz-funk butterfly, Violet and the slow boogie shuffles of Ecological Awareness and Erotica.
Romantic souls and those in need of a holiday to somewhere unaffordably lush should book their seat of this one as soon as possible.
Lip-biting, eye-fluttering Dream House Tropicana styles from Yorkshire:the Larry Heard-toned blissness of Breakfast Club by Deep88; a canny electro-breaks depth charge called Refresh Your Hair and the trilling percolations of Tap4 by RNR.
Telephones, Max D and Young Marco remix Into The Light’s excellent collection of Vangelis Katsoulis’ Greek electronic rarities, Sleeping Beauties for the dreamiest disco ‘floors.
Norway’s Telephones gives The Slipping Beauty a positively gorgeous cosmic disco mix flush with chiming drum machine patter and golden light synth harmonies, whereas Young Marco gives Enigma a fittingly coy, gently insistent new age disco make-over, and Max D is evidently the right guy to flip Improvisation, putting his own gilded spin on things with chattering synth harmonics and well-tanned Miami ’87 drum patter.
Into The Light pull out another Greek doozy: documenting Dimitris Petsetakis' ambitious pursuit of "musical environments" inspired by 2001: A Space Odyssey and the music of Xenakis, Jani Christou, and Karlheinz Stockhausen.
Compiling one track, 'Liquid' from his only solo LP, 'Missing Links' (1991), together with nine previously unreleased pieces, 'Endless' provides a wide-angled survey of Petsetakis' expeditions into new age, musique concrète and 4th world dimensions, recorded at his modest home studio and Vangelis Katousoulis' Spectrum Recording studio between 1985 and 1992.
Opening with the frothing SAW vibes of his previously issued 'Liquid' - which is considered by the artist as one of his most representative and fundamental compositions - the trip is full of delightful surprises and supernatural atmospheres, variously taking in hypnotic, ethnic percussions and computerised ambient tones from a suite dedicated to Ancient Greek History and Music - which uncannily recall ambient NIN or Alessandro Cortini - thru to some proper early '90s mystic scapes in 'Nearxi' and the ten minute bliss of angelic synth chorales in 'Dawn', which is among a number of these pieces recorded for the national TV station, Hellenic Broadcasting Network.
Far from just-another-synth-music reissue, this is an invaluable glimpse into familiar yet lushly, timelessly "other" music and a triumph of vision over technicality. Highly Recommended.
Ekster offer an enchanting almanac of adult contemporary ambient and electronic chamber music, pulling together label regulars with a strong haul of friends and peers including Suzanne Kraft, Gigi Masin, Jonny Nash, plus intriguing new names such as Fregnacciarius, Rembrandt Redandt, and Componium Ensemble.
With typically poetic, timeless form, Ekster provide a subtle, meditative backing track to modern times, trustingly sequencing the vibe for an unchallenging yet curious selection that hinges around two tracks from Roman Hiele - the bubbling vignette Buchla For Sunday and the gently unfolding, airborne tapestry of Birdwatching - alongside fine showing from their Belgian label family including Hantrax, with the chiming electro-jazz nocturne Walking With Raven, and Elko Blijweert on the sweetly Crepuscular Verletzetes Reh.
Foraging farther into the Belgian field, we also find a feathered piece of piano and strings by Politick in Misolidio, and the curdled harpsichord of local legend Roger 3000 on Nuptiale, while the set also introduces a handful of new Belgian artists, strikingly so in Fregnacciarius’s floating jazz-fusion work Ferragosto and Milan Warmoeskerken’s wistfully hyaline chimes in Glaasjes. And it almost goes without saying, but the three pieces by Kraft, Masin and Nash are all stripes of sublime, serving some of the comp’s most alluring highlights.
Mad grab of styles from “Athens’ Best Kept Secret”, 2 Katara - including a handful of wicked, mutant disco bits, and an epic, 17 minute piece of prog funk ‘Greek Lady’ that’s practically worth the admission alone for any cosmic nuts..
“‘Break at Home’ is the collected recordings of the mysterious group ‘2 Katara’ which was formed in Athens, Greece in 1978 by George Theodorakis (keyboards, percussion, vocals) with his close friend Dimitris Papangelidis (bass, guitars, percussion, vocals). TIP!
This musical-duo recorded quietly over a decade between Theodorakis’ family idyllic home studio in the Philopappou hill of Athens and the nearby studios Theta and SR. For some part, the tracks seem like adventurous experiments or even unfinished samplers or riffs the band starts to develop, but at the same time there are productions that are clearly meant to be the backbone of an album that never came out.
Into the light proudly presents 14 sun-soaked productions from the above-mentioned sterling material from 1981 until 1991 where the band split. This sixth installment is meant to be enjoyed as a journey from proggy pop to TR-909 drum driving compositions to Mediterranean disco-not-disco and further futuristic synth-scapes.
The many elements from the Greek traditional folk music - especially in ‘I Can Not’ which is an ambient take on a folk lament song from Epirus area and the reverse play recording of a Greek orthodox priest chant on their last ever recorded epic 17min track ‘Greek lady’ -, the unusual but clever combinations of colourful styles and the intense improvisation put the group in the first line of Athens’ best kept secrets!”
Japanese composer/demi-god Ryuichi Sakamoto presents an exquisitely oneiric and elusively spiritual new album inspired as much by the sound sculptures of Harry Bertoia as the magic of Andrei Tarkovsky’s seminal septet of celluloid classics.
It’s been some years since Sakamoto has placed his name at the top of a solo album proper - as opposed to his swathes of collaborations and film scores - and we can promise that the results herein are definitely worth the wait.
Imagined and realised after a period of fright with his health, Async captures Mr. Sakamoto at his most wistful and wonderful, meditating on the existentialist, ontological themes and atmospheres of Tarkovsky’s work from both a gauzily impressionistic aspect, and a quite literal one, employing readings of Tarkovsky’s poetry (poem transcribed in the liner notes) in a variety of languages from a coterie of contemporaries including long time collaborators David Sylvian, Bernardo Bertolucci (for whom he composed the OST for The Last Emperor) and Carsten Nicolai (Alva Noto), among others.
Embracing both the fluidity and flux of Tarkovsky’s water analogies as well as the harmonic chaos of Harry Bertoia’s lush metal rod clangour, Sakamoto melds feather touch acoustic keys with field recordings, shimmering electronic patinas and signature synthesiser flourishes in a suite that beautifully lives up to and even transcends its influences, revealing some of the most achingly emotive yet often abrasive and abstract work in a catalogue now spanning over 40 years of exemplary work.
Beyond maybe Scott Walker, we can hardly think of another artist who has continued to expand their oeuvre over such a long period of time, and with an appeal quite like this, albeit respectively unique to their work. But Sakamoto really is in a league of his own here, utterly absorbing us with the dappled keys, organ haze and stereo starting doom synths of Andata, thru the stark Sonambient emulations of Disintegration to the romance of ZURE and the almost Toshiya Tsunoda-esque sensitivity of his field recordings woven into Walker or Honj, with humbling moments to be discovered in the switch from disorienting cinematic dialogue in Fullmoon to the legit Ligeti style violence of Async, and again in the curdled chromatics of FF and the Gas-eous swells swirling about Garden.
Björk blooms her most impressive album in a good while with Utopia, featuring co-production by Arca and even a guest spot by Rabit, who both aid in buoying her astonishingly lush and romantic new song cycle. As sincerely optimistic as the title may suggest, Utopia is, by Björk’s own description, her “tinder album”, projecting a positive answer to the tortuous soul-searching of Vulnicura.
We can take or leave a lot of Björk on most days. But this one got us right thurrr. Whether that’s due to the seamless integration of Arca’s virtuosic flourishes, it’s difficult to say. However, the embrace of space and nature, both real and emulated, within Utopia lends an intoxicatingly out-of-body sensation to its songs which beautifully leavens her sometimes overwrought delivery, serving to free up her spirit in the most literal and fascinatingly intangible terms.
Where Arca was brought in at the late stages of Vulnicura to warp its edges, their working relationship immediately spilled over into the recording of Utopia, forging a symbiotic and hugely fruitful relationship with the artist he formerly called his idol. Now creative partners, their powers are multiplied, manifesting the longest single piece of work in either’s catalogue, and arguably their most seductive.
You can literally hear her beaming while she sings over swooping subs, gamer FX and pirouetting harps in Awakening My Senses, whilst the folk phrasing and prettiness of Blissing Me perfectly counters her operatic tendencies. Conversely, the adroit looseness of Arca’s rhythms acutely mirror the expressive meter of Björk’s classical inflections in Body Memory, one of the album’s longest, most immersive highlights, and equally in sweetly fractious form to giddy effect on Losss, which benefits from Rabit’s push ’n pull production.
And even when talking frankly about the darker side of that tinder life in the couplet of Courtship and Sue Me, she pulls off delirious, rugged - but not overbearing - rhythms and skyward-zipping flutes keeping her spirit decidedly up and forward-looking in a way that also informs the album’s heart-cupping conclusion, Future Forever.
Finders Keepers unveil a real pearl from their stewardship of Ciani Musica Inc.: presenting Suzanne’s ‘Silver Apples Of The Moon’-like electronic score for Gian Carlo Menotti’s satirical opera for children; ‘Help, Help, The Globolinks!’
“As faithful guardians of the Ciani Musica Inc. studio vault, Finders Keepers twist the key and return to their collaborative series of previously unreleased music from one of the most important and influential composers in multi-disciplinary electronic music, Suzanne Ciani. This electronic soundtrack for an operatic, ecological, scholastic, science fiction theater production for children of all ages not only further reveals Suzanne's vibrant and versatile skills as an experimental musician and narrative sound designer, but also highlights her European heritage -- working to the script of Milanese librettist Gian Carlo Menotti and a cast of forward-thinking fellow Italian-American creatives (including Giorgio Armani and Fiorucci in the wardrobe department).
Originally written and performed in 1968, and gaining worldwide acclaim throughout the 1970s, Gian Carlo Menotti would update and revise his play for the turn of the '80s which called for a new approach to the music and sound effects -- all of which would make their world premiere in New York high school theaters in April of 1980. Suzanne on the original: "The original production had been in 1968 and I felt that the electronic music component could be more playful and less abrasive than the original production." For Help, Help The Globolinks!, Ciani would give Menotti's well-traveled aliens a brand new voice and with reinvention she communicated with a young audience keen to hear the genuine sounds of the future while retaining melodicism and personality. Unlike many successful electronic composers, Suzanne managed to evade the obvious typecasting of her music through the medium of shlock sci-fi cinema; within the realms of opera and education Suzanne found her perfect channel -- scratching her other cosmic cinematic itches with android music in The Stepford Wives and as "the first female composer to score a major Hollywood movie" with The Incredible Shrinking Woman (1981).
Furnishing a plot of an ecological alien intervention worthy of a Magma youth starter pack and realigning early pioneering electronic operas such as Karl-Birger Blomdahl's Aniara or Remi Gassman's Electronics (CACK 004B-LP), this virtually undocumented work by the hardest working woman in VCO business is finally preserved after just a handful of exclusive theatrical airings over 35 years ago. Ciani's combined roles as an abstract artist and an astute technician are in equal measures here, a rare duplicity which is essential to The Globolinks!.”
No nonsense hard jaw EBM form Phase Fatale, dispensing a proper workout for Jealous God’s 15th release.
Cementing his spot at the top of the EBM techno table, the Berlin-based NYC transplant grinds out the blank-eyed and noisy toil of Breathe and nails a mean af 16th note slammer to the wall in iMirror.
Turn it over and you’ll encounter the beastly trample of Pressure and razor-toothed industrial swang of Cell.
Shackleton curves back to Woe To The Septic Heart! with British-German singer-songwriter Anika as his new vocal muse, who lends a refreshing new spirit to his sound following collaborations with Ernesto Tomasini and Vengeance Tenfold in recent years.
Perhaps knowingly timed for release with UK summertime, Behind The Glass is a decidedly mid-summery album full of semi-pastoral psychedelic themes and production in Shackleton’s signature style, equal parts Wickerman soundtrack and Jarman-esque uncanniness with a dash of worcester sauce sourness dosed direct to the pineal gland.
Think ritual dogging sites, lost Spiral Tribe members attempting to find their way out of a nuclear bunker for 20 years, or pagan aliens descending at full moon over Welsh glades. The production, as ever, is incredible.
Geir Jenssen offers a very handy scan of hard-to-find Biosphere cuts c. 1991-2004 on his Biophon label, the latest in a comprehensive reissue agenda which has turned up some real charms so far.
The set ranges from his earliest dalliances with bleep techno rave, superbly so in the sub-loaded killer Hypnophone  off an obscure Norwegian rave compilation, thru to the coruscating ambient loops of Reef  for the Gonzo Circus magazine, taking in gorgeous Lynchian ambience with The Third Planet  and floating ambient structures redolent of X-Files atmospheres in The Seal & The Hydrophone , while catching him at his most wistful and cinematic with Bird Watching , and his subsequent, post-2000 turn toward textured ambient neo-classicism, such as the spectral interceptions of Vi Kan Tenka Digitalt, Vi Kan Tala Digitalt , the stark but sensuous lushness of Valchirie , and his organ work, Visible & Invisible  for Touch.
Definitely not just for the fans, this is a discreet slice of ‘90s ambient history for lovers of icy electronic romance.
The Basic Channel don meets the folk musicians of Bishkek, Kyrgyzstan for a beguiling exchange and fusion of traditions crossing paths between haunting acapella vocals, virtuosic instrumentation and sublime, dub-wise 4th world panoramas.
Locating MVO diversifying his bonds along outernational vectors, just like his BC bandmate Mark Ernestus with Ndagga Rhythm Force or Obadiah, the results form a series of studio portraits and wistful, impressionistic abstractions. They transport us to a place well off the usual map, to rugged lands once crossed by The Silk Road, where preserved, ancient traditions still reveal ghostly traces of the voices and sonic cultures which passed thru them.
The original arrangements of Ordo Sakhna range from complex, airborne string flights to nerve-jangling mouth harp pieces and a few stunning acapella pieces, which to our untrained ears resemble both Middle eastern, Indian classical and Chinese traditions, whilst the Drums track would appear to catch MVO in lissom fusion with live percussionists.
The multiple MVO dubs are a huge attraction, too. None more than the jaw-dropping Facets, where drums are swept in mountainous dynamic across the stereo field, joined by Hassell-esque dream tones and twanging mouth harp in one of the master’s most abstract, mercurial works in memory, whilst Bishkek, May 2016 catches them in live form at the Kyrgyzstan edition of Unsound festival, and the rolling Draught, and its version frame the spirits of Ordo Sakhna in his signature dub techno style, with results comparable to Shackleton when he removes the straight kicks.
Burial skulks back to the ‘floor with the deep, bumping swang of Rodent, backed by a footwork flexing Kode 9 remix.
Switching tack from the sublime, beat-less Subtemple 12”, Rodent follows in the vein of Burial’s remix for Mønic’s Deep Summer with a tender grip on deep garage house styles, cruising out on a 120bpm chassis flecked with looped R&B vox, ambient synth voices and flinty percussion, with a certain crackle of anxiety that’s more minutes-before-come-up than anything darkside. Eyes down in the darnce.
Kobe 9 ain’t having any of that on his remix, tho. His take on Rodent is razor sharp, alert and hungry, pinning scuttling footwork hi-hats and palpitating subs around that vocal motif at a quickened pace akin to tracks off his excellent Nothing album, drawing a jagged line from his ‘90s junglist roots right up to the modern nanosec.
Off the back of his banging debut album, NYC’s Anthony Parasole commits this trio of driving tools to Italy’s Redimension label.
We advise lunging straight for the immense Bang, where Parasole puts his weight behind recoiling kicks and Red2-style rave stabs for peak time pressure, whilst the muscle Marys need to check out Hot Zone for some prime, slippery bozing material, and the slinkier cats will get off on the latinate shuffle of Velocity.
The debut release by The Slowest Lift (Sophie Cooper and Julian Bradley) presents a new chapter in the long-running tradition of radical English music duos.
"Originally formed via a commission from the Supernormal Festival, Cooper (an accomplished solo performer and collaborator) and Bradley (from frequent VHF delinquents Vibracathedral Orchestra) play a kind of gentle postindustrial psychedelia, with Cooper’s lovely vocals floating over a collage of live and electronic performances. The songs are a blend of straightforward performance and eccentric bricolage, with rude electronic interjections sitting comfortably alongside delicate guitar and keyboard melodies. Zoviet France-like low-fi atmospherics compete with Cooper’s voice for air on tracks like “Crystal Fracture” and “Hi From The Skyline Swim,” while the duo’s surprising cover of Duran Duran’s “The Chauffeur” deep on side two sneaks in perfectly, a mini-pop music drama reimagined as pure hallucination."
After years in duo with Dusk, Keysound’s Martin “Blackdown” Clark ventures solo with the weightless etudes of Those Moments, neatly incorporating both sampled vocals and original bars from Trim and Farrah to put a succinctly poetic spin on the ‘weightless’ movement coined by Mumdance & Logos.
It’s effectively a soundbwoy’s fever dream, leaving the beats behind to focus on what are effectively the zoomed-in and extended breakdowns of ‘ardcore ‘nuum styles, the bits at the start of records and between the grooves where the tension pensively floats before the next rush.
The rush never comes in Those Moments, but the tension holds tight in all parts, subtly modulated between salty glare of Abundance and the horizon-scanning gaze of Halcyon Skies, turning up a strong moment for the DJs on the impending, Optical or Logos-like pressure of Who Does It (KSA) featuring spare bars from Trim, and some almost uncomfortable insight with the brooding intimations of Those Moments.
Well, this is just lovely; Hiroshi Yoshimura’s soothing electro-acoustic ambient suite, Music For Nine Postcards  is made available outside the Japanese market for the 1st time, unfurling the Tokyo-based artist’s delicate, minimalist masterwork inspired by Satie, Schaefer and Eno to whole new generations in need of blissed sonic respite. Unless you’re a bit wadded or simply helpless to the charms of early ‘80s Japambient records and bought a dead expensive original, it’s maybe likely that you’ll only get to hear this one via YouTube otherwise, so the opportunity to hear this beauty in full fidelity, at a reasonable price, is not to be missed!
"Despite his status as a key figure in the history of Japanese ambient music, Hiroshi Yoshimura remains tragically under-known outside of his home country. Empire of Signs–a new imprint co-helmed by Maxwell August Croy and Spencer Doran–is proud to reissue Yoshimura’s debut Music for Nine Post Cards for the first time outside Japan in collaboration with Hiroshi’s widow Yoko Yoshimura, with more reissues ofHiroshi’s works to follow in the future.
Working initially as a conceptual artist, the musical side of Yoshimura’s artistic practice came to prominence in the post-Fluxus scene of late 1970s Tokyo alongside Akio Suzuki and Takehisa Kosugi, taking many commissioned fashion runway scores, soundtracking perfume, soundscapes for pre-fab houses, train station sound design – all existing not as side work but as logical extensions of his philosophy of sound.
His work strived for serenity as an ideal, and this approach can be felt strongly on Music for Nine Post Cards. Home recorded on a minimal setup of keyboard and Fender Rhodes, Music for Nine Post Cards was Yoshimura’s first concrete collection of music, initially a demo recording given to the Hara Museum of Contemporary Art to be played within the building’s architecture.
This was not background music in the prior Japanese “BGM” sense of the word, but “environmental music”, the literal translation of the Japanese term kankyō ongaku given to Brian Eno’s “ambient” music when it arrived in late 70’s Japan. Yoshimura, along with his musical co-traveler Satoshi Ashikawa, searched for a new dialog between sound and space: music not as an external absolute, but as something that interlocks with a physical environment and shifts the listener’s experience within it.
Erik Satie’s furniture music, R. Murray Schafer’s concept of the soundscape and Eno’s ambience all greatly informed their work, but the specific form of tranquil stasis presented on releases like Nine Post Cards is still difficult to place within a specific tradition, remaining elusive and idiosyncratic despite the economy of its construction. This record offers the perfect introduction to Hiroshi’s unique and beautiful worldview: it’s one that can be listened to – and lived in – endlessly."
A major milestone and bucket list ting from Swing Ting, serving six head-turning collaborations with Jamaican, UK and Eire vocalists and producers; Alexx A-Game, Blvk H3ro, Gemma Dunleavy, Gavsborg & Shanique Marie (Equiknoxx), and JP aka Without Understanding.
Coming nearly one year after Fact Magazine bestowed Swing Ting the honour of Best Label of 2016, the label captains Samrai and Platt comfortable take the wheel on Junction, cooking up strong flavours for all street raver between the Soup Kitchen anthem, Free Up Your Mind feat. Alex A-Game, thru a slinky link-up with Blvk H3ro on Can’t Wait, to the exquisite feminine pressure of addiction with Gemma Dunleavy, and the simmering slow jam, Contagious starring Manny’s own Fox and Tyler Daley in classic voice.
Special mention to the Equiknoxx-starring cuts, too. Shanique Marie sounds like an R&G angel on the rude-but-smooth bashment, Turn It Up, and Gavsborg’s sincere answering machine message on Gavsborg Meets JP becomes part of a jazzy cherry on the pie.
A striking proposition for fans of Maja S.K. Ratkje, Meredith Monk, Hildur Guðnadóttir, this new release on Sonic Pieces features a stunning clutch of stately, oneiric neo-classical, avant-garde and electronic gestures by Denmark’s experimental quartet, We like We - revolving Katrine Grarup Elbo (violin), Josefine Opsahl (cello), Sara Nigard Rosendal (percussion) and Katinka Fogh Vindelev (voice).
Like their debut A New Age of Sensibility  for The Being Music, which was also mixed by Jacob Kirkgaard, the all female quartet dash genre distinctions with a totally beguiling sleight-of-hand, with each member putting their classical training at the service of freedom of expression and playfulness, rather than stifling themselves into convention.
The result is a haunting, at times surreal, and often unpredictable clash of traditions and energies perhaps best described in terms of its vivid colours, volume changes and proprioceptive and temporal chicanery. The four proceed to converge, swarm and disperse across ten pieces with preternaturally organic dynamic.
While opener I’m Not For More gives the LP a hushed, folkwise beginning, then seamlessly melded with electronics, they continue to defy expectations at each turn. Whether shimmering like some Far Eastern ambient fantasia meets Maxwell Sterling’s Hollywood Medieval styles in Endless Harmonics, or turning inwards to focus on Spunk-like extended vocals and instrumental techniques in Distance, which acts as prelude to the almost ‘marish flares of Forest Sketches, or then probing the limits of spatial and tonal perception, Ligeti-style with the air-curdling, hair-curling tension of Time Is Local - Seventeen Days, you can call us captivated, to say the very least.
Yet another beauty from Sonic Pieces. If you were into their sublime Jasmine Guffond side or the recent slices by Christopher Berg and Otto A. Totland, your time will not go amiss here as well!
LA’s Ahnnu lets his mind, and now yours, wander among the smeared dream sequence of Special Forces, his 2nd album for NNA Tapes and the follow-up to a pair of albums with Leaving Records.
Grubbing around the liminal edges of hip hop, ambient and electronic jazz frameworks, he yields a frayed patchwork of ideas best suited to low volume listening as a sort of Satie-esque wallpaper music, finding contemporary parallels in the faded designs of Huerco S’ Pendant output, or the dusty flickers of Bellow/Giuseppe Ielasi.
It’s a sound to put on in the background and quickly forget you did so, allowing it to perfuse your listening space like some experimental olfactory sonics or a series of subtly morphing screensavers for your living room.
Marking 20 years of Prurient and Hospital Productions’ concurrent paths, the epic 3 hr 20 minutes of Rainbow Mirror inarguably ranks among Prurient’s most compelling statements. While still the blood child of Dominick Fernow, the album’s massive scope demanded more hands on board, with Jim Mroz (Lussuria) and Matt Folden (Dual Action) lending their expertise before post-production by Shifted and mastering by Paul Corley cemented this towering work of Doom Electronics for the ages.
Offered up as ‘a portrait in perpetual tension’, and housed in cover art created as the first collage in the pre-recording era of Prurient, Rainbow Mirror draws on the project’s roots in order to locate itself in the modern day. What it finds in the process is that little has changed since Prurient and Hospital Productions’ conception in ’97 - the world is still a torrid, evil mess beyond control, and one that needs notions like Prurient to try and define its heaving mass more than ever.
Like Frozen Niagara Falls before it, echoes of the old world riddle the long, stark corridors of Rainbow Mirror, too. But here those echoes are more fragmented, distant and entropically obfuscated, emulating the effect of trying to find your own image in a hall of mirrors, or locating yourself drowning amid the clamour of more than 3 billion other people online, all saying the same, mundane shit at the same time.
With a length and intensity proportionately reflective of the world’s increasing socio-political tension and rate of homogeneity, Rainbow Mirror holds firm as a space to immolate the senses in preparation for the ever nearing eschaton.