An ace addendum to 0PN’s ‘Age Of’, including album cut ‘The Station’ with two brand new productions and the brilliant, previously Japan-only bonus level, ‘Trance 1’
Daniel ‘0PN’ Lopatin’s voice makes a smart appearance, albeit heavily autotuned, in the hyper-modern blues of ‘The Station’, whereas ‘Monody’ finds him plumbing a sort of proggy IDM uchronia, where the mid ‘70s folds in to mid ‘90s and mid-WTF we call this decade, and ‘Blow By Blow’ follows that logic to sound like a bastard organism imagined by Autechre and Steve Vai making its first tentative steps into a VR world.
Best of the lot is ‘Trance 1’, which previously appeared on the Japan-only edition of ‘Age Of’ and now blazes out on this release like the view of planet exploding in the rear window of an escape shuttle headed for new solar systems.
A decade is literally a lifetime for most bands. For Italian-American post-punk stalwarts, Bellini, it is simply the time it took to make their new album.
"Separated by an ocean, the members of Bellini lived their lives, mourned several close friends who lost theirs, and occasionally converged in Italy or Chicago to write and record what would become Before The Day Has Gone. Recorded as always by longtime collaborator and companion, Steve Albini, Before The Day Has Gone’s roots are in tracks that were originally laid to tape at Albini’s Electrical Audio Studios way back in 2012, where they sat until fall of 2017, awaiting completion. Albini mixed and sequenced the album independently, as Bellini has preferred with all of their albums since 2005’s Small Stones. Bellini’s gift for marrying melody and dissonance is as sharp as ever on Before The Day Has Gone – the band’s veteran rhythm section of Matthew Taylor and Alexis Fleisig anchoring Tilotta’s sinewy anti-riffs and Cacciola’s primal punk poems of butterflies and betrayal. Bellini deliver passion and pain with the kind of pride and prowess one would expect from a band of their pedigree, and Before The Day Has Gone is their most dramatic and dizzying display of their two-decade career."
Highland electro and deep techno hustle from Neil McDonald’s ever-charming Lord Of The Isles project
Like a distant Scottish cousin to Texan Gerard Hanson (Convextion/E.R.P.), LOTI trades in a most poignant sort of sort of synthetic emotion inspired by big panorama and classic electronica.
On the A-side he rolls out two electro beauties in the poignant pads and chrome plated patterns of ‘Irafas’ and the nimble, fluidly woven arps of ‘W5 Alpha’, whereas the B-side tends to subtler sensations with the dark skied tone and tactile subbass movements of ‘Q-bit’ and a lovely kosmiche flight in ‘Three Times Eleven’ to close.
Dead lovely gear, also sounds great on 33rpm!
Benoit B follows his ‘Japonaiserie’ 12” for Berceuse Heroique with a classy ride between bass-heavy electro and smoky Gallic downbeats for Wisdom Teeth
For the ‘floor, Benoit tees up the lush electro suspension system of Vague à l’Âme and a beautifully crafty mix of whirring trills and Martian woodwind in Kimono coming off like a mutant Red Planet number.
In between those cuts he explores a more sultry style in the Far Eastern-inspired sashay of Gyvenimo Tékmé featuring vocals from Dália, then with the nimble, hyaline designs of Ice Valley landing somewhere between Jay Glass Dubs and Invisible Cloaks.
Modular synth botherer and multi-instrumentalist Ralph Cumbers takes it to the ‘floor for Happy Skull
Up top he drops the quirky, clipped strut of his acid wobbler ‘Charnel House’ and downtown he riffs on Adonis’ ‘No Way back’ in a style primed to mix with Gescom’s own take on those same elements in their ‘D1’  chop-up. One of the best we’ve heard from Bass Clef.
Burbank appears to takes cues from FIS’ geologic structures and Autechrian warp in ‘Botanical Clipboard’, his first record for Kinlaw’s Bristol-based Ceramics label
Check for heavily abstract electronics in the technoid roil and sputter of ‘Powdery Mildew’ and the swaggering, distended beast called ‘Stame’.
Julius Steinhof returns to the bosom of Smallville Records with a subtly stealthy set of deep house shimmies
On Along The Coast the landscape scrolls from plaintive choral voices to rolling jack, building up to a prime Detroit house bustle a smart balance of subtlety and tugging ruggedness.
Mooddowner simmers the mood to a breezy, organ-riding swing nudging at Rob Hodo vibes, and Be Myself stealthily locks us into his mindset for a deep, blue and rudely teched-out ride.
Rodrigo Amado: tenor saxophone Joe McPhee: pocket trumpet, soprano saxophone Kent Kessler: double bass Chris Corsano: drums
"Great dedicated music by four strong individual players, brought together by Portugese saxophonist Rodrigo Amado – intense communication with room for outbreaking solo-parts but always held together through a vision of playing together, exiting and interwoven with beautiful melodies!"
‘Serious Time’ is Joane Skyler first album of canny, natty electronica for Bristol’s Ceramics
Like Joane’s memorably charming side for Boomkat Editions, ’Sssssssss’ , his ‘Serious Time’  album is bewitching batch of clipped hip hop, garage and mutant dance rhythms spliced with tantalising melodies and a real knack for off-kilter harmonics that reminds us of Mortal & Chemist as much as early Pendle Coven and those frayed Unknown and Untitled editions from Cotton Goods.
Freakish, high-impact techno missiles from Bjarki on Nina Kraviz’s Trip
Check for the wide-eyed 150bpm pounder ‘Oli Gumm’ with its shattering breakdowns, and the mash den trample and avian squabble of ‘Hatann Satann’.
Chicago’s Stave (half of Talker with Karl Meier) pelts four techno mutations on Ruffhouse’s ace UVB-76 Music
Following 12”s for Shapednoise and co’s Repitch Recordings, Trensmat, and France’s alia recordings, Stave’s ‘ATK’ session unfolds four ways between the clipped canter and impounding drones of ‘ATK’ and the brittle, shuddering mass of ‘Silva’ on the A-side, before putting his weight behind brut primitivism of ‘Ambient Out’, and the dancehall doom of ‘Undead’ on the B-side.