MUSIC

Another massive offering from the one and only Mick Harris, continuing on in his Culvert Dubs Sessions experimentations with a new 2xlp. Once again Mick delves deep into the shadow realm of slow beat, psychedelic heavily textured, grinding dub techno. Eight tracks of absolute industrialized, delay swept, full pressure, sound system shaking murk ridden, dark water dubs. Top form work when Mick lets loose in this wild style, just the right balance of beauty, restraint and brutality. Total heavy weight music!

In the late-1990s, after a successful career as an MTV-era music video director, Peter "Sleazy" Christopherson moved with Jhonn Balance - his partner in life and in Coil - from London to the rural Weston-super-Mare, creating an environment for all things "musick, musick, musick!" with a revolving door of new members, including Thighpaulsandra. This eruption in activity saw Coil's discography nearly double, and during this fruitful period, Thighpaulsandra asked the simple question: why doesn't Coil play live? After a 16-year wait, thanks to the rapid technological advancement in the form of MacBooks, DAWs, VSTs and plugins, Coil were able bring their music to the stage as always envisioned. In live performance, they could embrace the risks and freedoms of real time sonic manipulation, as noted by Sleazy: "Reshape the show minute by minute... the direction is very spontaneous, not so much in the way of like jazz improvisation but in a kind stream of consciousness… Thighpaulsandra brought us his wisdom, and he was able to convince us we could do it." From 1999 to 2003, Coil was "like a snake shedding its skin," transforming every six months into something "completely different." Their evolution was documented in real time through the recent advent of lower-cost CD-R manufacture, on limited edition albums including 'Constant Shallowness Leads To Evil' and 'Queens of the Circulating Library.' In preparing for 2004’s "Even an Evil Fatigue" live series, Coil began work on their next period-defining masterpiece, 'Black Antlers.' 'Black Antlers' showcases late-period Coil at their purest: stripped down, tighter, and leaner. The music became more rhythmic, with a greater emphasis on beats: "the songs we did tend to be more... not rock in any sense of a word, but you know, more conventional in terms of structure, but now what we're doing is sort of within an 'electronic' genre." The sound of 'Black Antlers' is of an intoxicating energy, combining Thighpaulsandra's advanced synthesis, Balance's poetic lyricism and Christopherson's flirtations with jazz and Ableton-aided PowerBook maximalism. Rounding out the trio were renowned hurdy-gurdy player Cliff Stapleton on a "specifically commissioned" electric variant, to merge into the band’s "strange and other-worldly music"; Royal Academy of Music trained percussionist Tom Edwards (who also appeared with Thighpaulsandra in Spiritualized’s live band); and European and Near East winds specialist Mike York on pipes, bombarde, duduk and balalaika. Initially released as an "album-in-progress" in June 2004, a post on the Threshold House website noted, "Please remember that September will see Coil recording the album "Black Antlers (Proper)"." Jhonn Balance passed away that November; Christopherson would reunite with 'Love's Secret Domain' collaborator Danny Hyde to complete 'Black Antlers' by May 2006. Revitalized energy marked 'Black Antlers''s recording, paired with the group's signature wordplay and humor (the name came from a series of imagined adult film titles). At their "Evil Fatigue" tour opener in Paris, Jhonn Balance presented the revised "Teenage Lightning (10th Birthday Version)" as, "an updated version of one of our older-never 'hits.'" The song, about the energy generated by "two teenagers, or old age pensioners" rapidly pulses, with Edwards's marimbas electronically modified and arpeggiated by Christopherson. Album opener "The Gimp (Sometimes)" is hypnotic and hallucinatory, recalling Coil's 90s period, with a potentially uneasy air, filled with repetition, distorted vocals, and Thighpaulsandra's modulated drone. "Sex With Sun Ra (Part One - Saturnalia)" reveals the potentials of the 2004 lineup, as it writhes and glides through an imagined conversation with the legendary composer, building into overdrive. On the complementary piece, Christopherson & Hyde's "Sex With Sun Ra (Part Two - Sigillaricia)", the song evolves into a throbbing ouroboros of glitches and free flowing energy, with York's pipe samples reverberating almost filmically. One highlight is "The Wraiths And Strays Of Paris", an expansion of the song's first release (as "Wraiths And Strays (From Montreal)", available as a downloadable bonus track). "Of Paris" takes Thighpaulsandra synthesized warmth and Christopherson's PowerBook manipulations & stylizations from the original, adding samples taken from multi-track recordings of the full live band - including Balance's vocals from the Paris show - fully realizing Christopherson's desire of "taking the (electronic) genre to a place that people would find unexpected, and more challenging." Adding to the unexpected, and building upon their own uncompromising legacy, Coil delicately cover the traditional African American lullaby (and "friend's song") "All The Pretty Little Horses", with Balance's vocals soothing the listener in an almost hushed whisper. For Christopherson, following Jhonn's death, the relevance and power of Coil's creative output changed. He had one goal in mind: "to maintain the availability of the archive for future generations." In original form, 'Black Antlers' represented the possibilities of a new era for the group, built from the momentum of live performance, new sounds and ideas. For the final version, 'Black Antlers' reunited Coil members from over the decades, collaborating across the boundaries of fixed time. There would be no more new Coil, only the completion of unfinished projects, bringing them to a standard which Balance would "have loved and approved of." Dais Records would like to thank Thighpaulsandra and Danny Hyde for their collaboration on this reissue. The Dais reissue presents Coil's 2006 version 'Black Antlers' with 2004's "Wraiths And Strays (From Montreal)" available as a downloadable bonus track.

In the late-1990s, after a successful career as an MTV-era music video director, Peter "Sleazy" Christopherson moved with Jhonn Balance - his partner in life and in Coil - from London to the rural Weston-super-Mare, creating an environment for all things "musick, musick, musick!" with a revolving door of new members, including Thighpaulsandra. This eruption in activity saw Coil's discography nearly double, and during this fruitful period, Thighpaulsandra asked the simple question: why doesn't Coil play live? After a 16-year wait, thanks to the rapid technological advancement in the form of MacBooks, DAWs, VSTs and plugins, Coil were able bring their music to the stage as always envisioned. In live performance, they could embrace the risks and freedoms of real time sonic manipulation, as noted by Sleazy: "Reshape the show minute by minute... the direction is very spontaneous, not so much in the way of like jazz improvisation but in a kind stream of consciousness… Thighpaulsandra brought us his wisdom, and he was able to convince us we could do it." From 1999 to 2003, Coil was "like a snake shedding its skin," transforming every six months into something "completely different." Their evolution was documented in real time through the recent advent of lower-cost CD-R manufacture, on limited edition albums including 'Constant Shallowness Leads To Evil' and 'Queens of the Circulating Library.' In preparing for 2004’s "Even an Evil Fatigue" live series, Coil began work on their next period-defining masterpiece, 'Black Antlers.' 'Black Antlers' showcases late-period Coil at their purest: stripped down, tighter, and leaner. The music became more rhythmic, with a greater emphasis on beats: "the songs we did tend to be more... not rock in any sense of a word, but you know, more conventional in terms of structure, but now what we're doing is sort of within an 'electronic' genre." The sound of 'Black Antlers' is of an intoxicating energy, combining Thighpaulsandra's advanced synthesis, Balance's poetic lyricism and Christopherson's flirtations with jazz and Ableton-aided PowerBook maximalism. Rounding out the trio were renowned hurdy-gurdy player Cliff Stapleton on a "specifically commissioned" electric variant, to merge into the band’s "strange and other-worldly music"; Royal Academy of Music trained percussionist Tom Edwards (who also appeared with Thighpaulsandra in Spiritualized’s live band); and European and Near East winds specialist Mike York on pipes, bombarde, duduk and balalaika. Initially released as an "album-in-progress" in June 2004, a post on the Threshold House website noted, "Please remember that September will see Coil recording the album "Black Antlers (Proper)"." Jhonn Balance passed away that November; Christopherson would reunite with 'Love's Secret Domain' collaborator Danny Hyde to complete 'Black Antlers' by May 2006. Revitalized energy marked 'Black Antlers''s recording, paired with the group's signature wordplay and humor (the name came from a series of imagined adult film titles). At their "Evil Fatigue" tour opener in Paris, Jhonn Balance presented the revised "Teenage Lightning (10th Birthday Version)" as, "an updated version of one of our older-never 'hits.'" The song, about the energy generated by "two teenagers, or old age pensioners" rapidly pulses, with Edwards's marimbas electronically modified and arpeggiated by Christopherson. Album opener "The Gimp (Sometimes)" is hypnotic and hallucinatory, recalling Coil's 90s period, with a potentially uneasy air, filled with repetition, distorted vocals, and Thighpaulsandra's modulated drone. "Sex With Sun Ra (Part One - Saturnalia)" reveals the potentials of the 2004 lineup, as it writhes and glides through an imagined conversation with the legendary composer, building into overdrive. On the complementary piece, Christopherson & Hyde's "Sex With Sun Ra (Part Two - Sigillaricia)", the song evolves into a throbbing ouroboros of glitches and free flowing energy, with York's pipe samples reverberating almost filmically. One highlight is "The Wraiths And Strays Of Paris", an expansion of the song's first release (as "Wraiths And Strays (From Montreal)", available as a downloadable bonus track). "Of Paris" takes Thighpaulsandra synthesized warmth and Christopherson's PowerBook manipulations & stylizations from the original, adding samples taken from multi-track recordings of the full live band - including Balance's vocals from the Paris show - fully realizing Christopherson's desire of "taking the (electronic) genre to a place that people would find unexpected, and more challenging." Adding to the unexpected, and building upon their own uncompromising legacy, Coil delicately cover the traditional African American lullaby (and "friend's song") "All The Pretty Little Horses", with Balance's vocals soothing the listener in an almost hushed whisper. For Christopherson, following Jhonn's death, the relevance and power of Coil's creative output changed. He had one goal in mind: "to maintain the availability of the archive for future generations." In original form, 'Black Antlers' represented the possibilities of a new era for the group, built from the momentum of live performance, new sounds and ideas. For the final version, 'Black Antlers' reunited Coil members from over the decades, collaborating across the boundaries of fixed time. There would be no more new Coil, only the completion of unfinished projects, bringing them to a standard which Balance would "have loved and approved of." Dais Records would like to thank Thighpaulsandra and Danny Hyde for their collaboration on this reissue. The Dais reissue presents Coil's 2006 version 'Black Antlers' with 2004's "Wraiths And Strays (From Montreal)" available as a downloadable bonus track.

Heith is the alias of Milan-based artist and musician Daniele Guerrini who crafts a mesmerising and ritualistic subterranean soundscape, a resonant and eclectic collage of distinct sonic elements: from celestial percussion intertwined with jarring, mechanical oscillations to haunting vocals atop murky dubbed-out beats.Exploring the textures of consciousness through research into the ritual animism, he kept an omnivorous and universalist approach to cultural and sonic influence. This is central to X, wheel, Heith’s debut album and first release on PAN. It’s a deep dive into his creative and spiritual practice, one where art and life are inextricable. The Liars Tell..., on the other hand, feels like a kind of respite, a moment of meditation and pause from the fatigue of dimension-hopping. As if the traveller dismounted their carriage and, standing puzzled on a crossroad, listened to the echoes of distant places. Occupying a liminal space and letting thousand of contradictory tales form the lyrics to one unfathomable song.

Known as an early member of Napalm Death and later a pioneer of industrial and dub’s deepest realms with Scorn and Lull, Mick Harris returns with a long-awaited new album, issued on vinyl by U.S. stronghold L.I.E.S.—a bastion of industrial and raw techno. Across nine tracks, Harris sculpts an abyssal soundworld where cavernous bass pressure and grainy textures descend like a dive into the deep sea. Delay and reverb loop like chisels carving stone, layering dub’s decay with the grit of noise to construct shadow-filled spaces. Probing the very limits of lightless zones, this work stands as a weighty statement at the outermost edge of industrial dub.

The latest work from London-based electronic artist Brbko arrives via noted imprint Scenic Route. Spanning nine tracks, the album explores themes of afterlife, faith, and growth, articulated with a firm resolve to resist absorption into fleeting trends. Tight, driving beats and shadowed sound design meet avant-garde vocal treatments, traversing the boundaries between experimental hip-hop, grime, ambient, and electronic music. Collaborations with Andrew Aged and Cajm further enrich the palette, as flickering soundscapes capture urban solitude and inner conflict with striking immediacy. A vivid sonic statement, strictly limited to 100 copies.

The euphonic tics of E-Saggila's music are typically found in symbiosis with the exacting intensity of her rhythmic arrangements, as meticulously deranged as they are. 'Gamma Tag' refreshes expectations by making more space for melodic conditioning and inculcation, whipping ultraviolet harmonics into uncanny plains for a wide range of tempos and cadences. While breaks remain staccato hammers, and kicks are cast to negate cardiac systems, E-Saggila's modulation of rhythmic dynamics is more pronounced, affording a resonance and balance that had previously been mentioned but not yet entirely explored. On more measured pieces, such as 'Amnesiac' and 'Tick', the searing digital signal envelops the horizon line, twisting the mechanics of the tracks until they burst with electromagnetic nectar.

LINTD, a pseudonym of Iyunoluwanimi Yemi-Shodimu, a notable musician from Nigeria, based in Manchester, will release his latest work in 2025 on vinyl from HEAD II, the cutting edge of the London underground. A strange work that can be called a modern dark audio fairy tale, with a strange fusion of gothic sensibility and experimental structure. The acoustic space woven between decadent and mysterious narration, strange beats, distorted melodies and silence is like a dark fable drawn with sound. A sharp and solitary strange work that reminds us of the narration x acoustic structure after Dean Blunt and even the illusion of The Shadow Ring.

Hampus Lindwall is a musical artist active in many fields ranging from contemporary music to experimental and electronic sound / music. He has released many albums, as a soloist and in collaboration and is the titular organist in Saint-Esprit, Paris, since 2005.

Japan’s cult, half-forgotten goldmine DD. Records opened and closed within a few frantic years. In that short time, they released exactly 222 cassettes (and a handful of vinyl records) of the strangest, boldest, most arresting and addictively subversive music within their social and creative circles. Each of their cassette releases came with abstract, xerographic artwork, often created by the musician themselves, while the label’s recorded output encompassed avant-punk, Cubist ambient music, sound collage, pop concréte, jazz-prog, early computer music, and anything else their roster cared to throw at them. Housed in sleeves of found imagery taken from classical and Medieval literature, contemporary and historic photography, science textbooks, magazines, homemade erotica, and endless more, these records reveal not only the strength of the community the label had fostered, but also the insular self-reference and in-jokes that kept the music from outsiders for decades. Two facets of DD. Records shine through even this unique story: firstly, they were friends. Founder T. [Tadashi] Kamada formed the label alone, but it wasn’t long before he was joined by like-minded allies T. [Teruo] Nakamura, K. [Koshiro] Yoshimatsu, K. [Keiichi] Usami, and T. [Takafumi] Isotani, among a few others. All were contributors to Kamada’s tape-trading network The Recycle Circle, formed at the University of Yamanashi, most of its members at the time around 20 years old. Their bond was a love of exploratory sounds and a hunger for deeper excavations into the tunnels and caves of experimental music. “An independent, private circle where members who owned expensive records or rare imported vinyl with limited distribution could send a cassette tape and a return postage stamp to dub the record back to each other for free,” Usami explains, in interview with Jon Dale for Bandcamp Daily. Secondly, the aforementioned cassettes remained almost entirely unavailable to the world outside Japan, with only a single US retailer engaged to carry the releases. Forty plus years hence, many of the records have been lost to time, but occasionally surface when (so writes an online observer) “a private collector has a medical bill to cover.” A German archivist, Jorg Öpitz, is primarily (and almost exclusively) responsible for the entire English-language directory of the label’s output, cataloguing online surviving and lost cassettes with completist dedication. Largely autodidactic, and almost always hermetic, this company of hobbyist and amateur (and in many cases, totally untrained) musicians rarely performed live. Many of them collaborated remotely, sending home-recorded tapes and collaged artwork in the post. “[We were] isolated from the rest of the [Japanese] indie movement,” Usami remembers. Strangely, and sadly for many, Tadashi Kamada has completely retired from public view. According to one-time collaborators, it is likely he is unaware of the cult following his label has garnered over the decades. Some sources point to a successful career in consumer electronics, a family, and a contented indifference to his early experiments in record label curation. But no-one seems certain about these details, none of which has harmed the image of a label that revels in mythmaking. An artefact left behind was Disk Musik. Though compilations were not unknown to DD. Records, vinyl was rare. Only a handful of Kamada titles - presumably self-funded - were released on vinyl, right at the start of the label’s life, and it is not until 1985 and Disk Musik that the format reemerges. It appears to be their final release: a parting gift to neatly bookend five feverish years of new music, rubber stamping their creative identity. In the twenty-first century, the second hand market for original copies is limited to scarce private sales at seriously hefty prices. There are endless and curious gems within. Opening with the fried psych-folk, dreamy vocals, and toybox percussion of trio サーカディアンリズム [Circadian Rhythm], Disk Musik’s stall is set out as much to bewilder as it is to beguile. Following, comes musician and painter Kumio Kurachi’s project Kum, with its homespun, acoustic glam-stomp always on the verge of falling to pieces, but revealing genuine songwriting chops and earworming melodic detail beneath the knowingly applied layers of hauntology, noise, and humour. Later, Tomomichi Nishiyama sends intergalactic plates spinning into black holes of solarstorm feedback with 10T track “Israel”, while T. Isotani’s “½ Orange” provides a welcome return to earth, an edenic utopia of plantasic blossoms and blooms. Across an extended duration (over fifty minutes on a single disc!), Disk Musik is relentless in its invention, wildly varied in its expression, and entrancing in its telling of a story truly unique in the world of independent and alternative music. Where else could Tadashi Tsukimoto’s rambling outsider folksong marry Yip/Jump primitivism to the scorched Casiotone ambience of “In and Out” by Takahiro Kuramoto’s Mask? While extensive efforts were made to contact every musician featured on Disk Musik, some are no longer within reach of known DD. Records associates. Keiichi Usami, Kumio Kurachi, and Teruo Nakamura all gladly approved the reissue of this compilation in the absence of their peers, and were vitally helpful throughout the curation process, offering insights into the history and significance of each artist and track featured here. We could not have done it without them. Usami-san, Kumio-san, Teruo-san: thank you. “Everyone has the right to make and enjoy music,” Tadashi Kamada once wrote. This spirit of inclusivity and equality underpins DD. Records and its gleefully weird catalogue, and we are grateful for it.

'Faith In Strangers’ was recorded between January 2013 and June 2014, and was edited and sequenced in July 2014. Making use of on an array of instruments, field recordings, found sounds and vocal treatments, it’s a largely analogue variant of hi-tech production arcing from the dissonant to the sublime.

 

 

Opener ‘Time Away’ features Euphonium played by Kim Holly Thorpe and closing track ‘Missing’ features vocals from Stott’s vocal collaborator Alison Skidmore. Between these two points ‘Faith In Strangers’ heads off from the sparse and infected ‘Violence’ to the broken, downcast pop of ‘On Oath’ and the motorik, driving melancholy of ‘Science & Industry’ - three vocal tracks built around a destroyed production style that's pioneering in spirit, buried in sentiment. 

 

 

‘No Surrender’ is a primitive spell making way for pitch-screwed woodblock drums, while ‘How It Was’ refracts sweaty warehouse signatures and ‘Damage’ comes like RZA’s ‘Ghost Dog’ re-factored by Terror Danjah. The title track is the album's most beautiful, gliding on a chiming melody and the hum of Andy’s mixing desk. 

Stone cold.

‘The surrealist, psychedelic brain-burps of notorious all-caps-tweeting wind-up-merchant Louis Johnstone aka Wanda Group. Twenty-six congealed morsels of spur-of-the-moment sound-art executed with genuine economy of means, namely… a phone. An impulsive, scatter-brained trip into the inner circles of regional weirdness, secreting a creeping unease which really gets under your skin. Fragments of aural rubble haphazardly cohere into galvanising spacial tones and textures, punctured by Johnstone’s garbled Essex rantings. The long-distance stare of warbled tape loops is abruptly fractured by a drunken sing-along in a care home for the elderly. As hallucinogenic takes on the utterly mundane, there’s an obvious kinship with Lambkin’s nocturnal, straight-to-dictaphone sound-pieces. Dan Johannsen’s splintered classical collages on that PIG tape and the suburban soliloquies of Regional Bears alumnus Russell Walker also feel closely aligned.’ (All Night Flight) With an A4 riso insert.

Ten years on, Joana Gama and Luís Fernandes show no signs of slowing down. Over the past decade, the duo has released five albums, composed soundtracks for film and television, and created pieces for performing arts. With “Strata”, they embark on a bold exploration of their musical identity, breaking new ground by seeking the primordial, the raw, and forging a deeper creative synergy. This evolution makes their music feel less like a conversation and more like a unified, introspective monologue.
Until now, their work has largely been defined by dialogue—a dynamic exchange of ideas evident in their earlier records. However, in their relentless drive to push boundaries, they now turn inward, embracing a monologue as a pathway for growth, innovation, and celebration of their journey so far. Two key elements shape this transition: Joana’s growing affinity for synthesizers over piano, a direction initiated in “There’s no knowing”, and her integration of field recordings gathered from diverse locations around the world. Rather than stepping into each other’s domain, the duo finds common ground, creating music that thrives on harmony and introspection.
“Strata” stands as Joana and Luís's quieter and most cohesive record to date. It reflects their desire to craft music that resonates with the natural world, unfolding as a seamless stream of sound that enhances their connection and invites the listener into their creative process. While their previous works were compelling, they often felt distant, as if the listener was observing from the sidelines. “Strata”, by contrast, draws the listener in, encouraging them to fill the spaces and find their own place within the duo’s monologue.
This process climaxes in the closing track, "Geode," where the subtle sounds of debris underscore the tightly woven structure of “Strata”. It’s a testament to the duo's commitment to evolution and their ability to surprise both themselves and their audience. A decade into their collaboration, “Strata” reaffirms Joana and Luís's creative vitality, offering a record that feels both fresh and deeply rooted in their artistic vision. 

Masma Dream World, a self-described multi-ethnic, non-binary, multi-disciplinary artist named Devi Mambouka who has roots in Gabon and Singapore, with her second album. Please Come To Me is an intense, beautiful, and haunting album that finds the technical developing with the spiritual, and the electronic with the natural. Masma Dream World reaches deep down to the interior of herself as its most vulnerable, proving that sorrow can be transformative, and music can be transformative.

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UEVPD - Usage/Efficiency/Variance/Platform/Domain - is the solo project of Dominic Goodman, a former member of Mosquitoes and currently one half of Komare. The self-titled UEVPD debut LP, released on 22nd November via World of Echo, consists of eight sequentially numbered electro-acoustic tracks made over approximately five years, living recordings that have morphed in shape over time, each systematically stripped back to their elemental form before being deemed complete. From the outset, Goodman purposefully deployed a relatively limited array of equipment and adopted a determinedly minimalist approach to composition, a practice in restraint that privileges detail and nuance. Field recordings, made using a combination of dynamic, condenser, contact and electret microphones, geophones and hydrophones, were allied to a basic modular/analogue synth setup, allowing for little in the way of excess or indulgence. The results are markedly defiant, displaying an expert exercise in control and restraint that lets in little light but plays a great service to space and time. This is patient, claustrophobic sound design that bears out the value in attentive listening, a meditation on the acceptance of passing time, change, growth, death and regeneration. As such, listeners might connect associative lines with the likes of Pan Sonic and Mika Vianio’s solo work, Emptyset and Civilistjavel (who’s Tomas Bodén shows up on mastering duties here), though this remains distinctively Goodman’s vision, a continuation of his interests shown in Mosquitoes and Komare that further pushes out into the murky unknown.

A 12" outing for the Ø:'s excellent Fermionit + the unreleased Kulmamomentti coming in the form of edits from members of the sähkö recordings crew (Kaukolampi & Jimi Tenor). Huge Tip! Mika Vainio was recording a new Ø-album since 2014. He almost got it ready before his too early passing in 2017. Mika's girlfriend Rikke Lundgreen from Oslo has been going through Mika's notes, numerous versions and takes of the album tracks. Now the collection of the tracks is completed, there were two tracks that Mika thought should not be included the album. They make this release. The shoter track Kulmamomentti is edited slightly longer by Jimi Tenor and Timo Kaukolampi.Ø (Mika Vainio) - Fermionit / Kulmamomentti (12")

The new avant-garde isn’t about creating something that doesn’t yet exist, it’s about abandoning and confusing rigid genres. I want to open up, in order to both abolish and reconstruct the musical past.» — Noémi Büchi Noémi Büchi’s album ‘Does It Still Matter’ completes a series of releases whose titles - ‘Matière’, ‘Matter’, and ‘Does It Still Matter’ - place the physicality of music in the center of attention. Büchi’s specific sound structures and aesthetic choices question the state of materiality in a world that is becoming more and more fluid and intangible. From ‘Matière’ to ‘Matter’, Büchi subtly transferred from a focus on substance to questioning the enigmatic core of being, passing from a noun to a verb, and from a single word to an inquiry. ‘Does It Still Matter’ weighs in on the importance of questioning. Her pieces juxtapose multi-layered analog synthesizer textures, crystal clear sounds and almost brutalistic noises, while they unfold in compositional structures akin to pop songs. Driven by an orchestra of myriad parts, her music creates transcendent intonations that resonate deeply with the listeners’ bodies. A daring blend of complexity and accessibility are molded into captivating sound sculptures that challenge and intrigue listeners alike. Deviating from conventional time divisions, ’Does It Still Matter’ immerses listeners in a discordant succession of elements, and guides them towards an eternal present that erases the past with each new revelation, while maintaining it through recurring themes that serve as intimate memories. Büchi’s electronic maximalism questions our linear perception of time, offering a glimpse into a world where the past, present, and future converge into a singular moment. Her avant-garde approach rejects predictability, inviting listeners to immerse themselves fully in the present. Everything starts anew at any given instant. Each musical idea exists for one precise moment, rendering the future unpredictable. ‘Does It Still Matter’ unfolds against a backdrop of collective disaster and biocidal urgency, challenging the very essence of time. Büchi explains: «The world appears to have gone mad. It’s all but impossible to reflect on the meaning of avant-garde in music, considering the future in this sepulchral kind of stability of the human condition.» Her compositions resonate like an infernal machine, questioning the instantaneous dissipation of everything. Finally, echoes and fragments of sounds remain, haunting memories like ghostly companions. ’Does It Still Matter’ is an immersive experience that invites listeners to contemplate the impermanence of our world and the enduring power of sound.

Honour’s debut album is a ligament stretching from Lagos to London and to New York, curling across the diaspora and brushing the darker hues of blues, hip-hop, free jazz, ambient, gospel with Christian mythology and Yoruba folklore. As cinematic as it is painterly, Àlàáfíà is a meditation on themes of life, death and love that pulls inspiration from the poetic profundity of God, remembered dreams, unexpected casual conversations, field recordings, literature, ephemera, and personal archives. The result is an impressionistic vision in Black and Blur that both exhausts and implicates language and that sublimates boundaries between everywhere and nowhere; history and the present; the individual and the universal.

ZULI's widest-reaching and most ambitious album to date, 'Lambda' is a conspicuous left turn for the Berlin-based Egyptian producer. Draped in gauzy, granulated textures and woven with enigmatic vocal flourishes from collaborators MICHAELBRAILEY, Coby Sey and Abdullah Miniawy, it's a vivid, soul-searching set of polychromatic reflections that sets fire to the boundaries between ambient, trip-hop, industrial music, chamber pop and symphonic noise. In some aspects, 'Lambda' reveals ZULI's softer side; gone are the earth-shaking chopped rhythms and stop-start outbursts of corroded static that characterized his last full length, 'Digla Dive - Live'. But peer beneath the brain burrowing vocal melodies, mangled instrumental loops, anxious poems and subtle, harmonic synth washes and a new kind of intensity lurks in the shadows. Since his early releases on Lee Gamble's UIQ label and his 2018 breakout 'Trigger Finger', ZULI has notched up major global acclaim for his futuristic, kinetic musical diversions. He cut his teeth supplying beats to local rappers back home in Cairo, soon shifting his attention to the city's burgeoning dance underground, promoting events, DJing prolifically and tirelessly supporting the scene's most experimental fringe. In 2019, ZULI teamed up with Rama to curate the irsh series of video transmissions, evolving the project into a label shortly afterwards. And now situated in Berlin, the duo have extended the concept to encompass an ongoing sequence of genre-averse club nights. All this experience and constant creative motion is etched into the foundations of 'Lambda'. It's an album that plays liberally with euphoria, but feels constantly precarious, intrepidly peering out from its tense internal world. Lead single '10000 (Papercut pt. 1)' is one of the album's most unexpected cuts, featuring a soaring falsetto vocal from Hamburg-based British composer and performer MICHAELBRAILEY. "What do I have to show for it?" he asks suggestively, while ZULI replies with seismic bass rumbles and celestial, harp-like chimes. Building towards a crippling, dense crescendo, the track is among the weightiest ZULI's ever produced, replacing his signature beats with industrial metal drones and razor-sharp electronics. Brailey also shows up on the symphonic 'Syzygy', singing sweetly until he stretches his voice into mutant echoes, augmenting the chorals with powdery, granulated hisses and surreal piano phrases. On 'Plateau' meanwhile, ZULI works alongside virtuosic multi-instrumentalist and singer Abdullah Miniawy, who calls to the heavens as digitally pulverized strings quiver in the background. And cult British artist Coby Sey adds his unmistakable tones to 'Ast', mouthing tense, thoughtful words over mangled music box jingles and ecstatic pads. When he's not straddled by his collaborators through, ZULI is free to make some of his most personal gestures. He fashions a phantasmic, pitch-fluxed robotic croon on 'Trachea', curving it around half-speed hip-hop clacks and cinematic drones, then driving it into walls of impermeable noise on 'The Horn'. And the album's most revealing moment comes with the short 'Fahsil Qusseer', when ZULI recites a poem written by his father. Stretching his voice and a tape-saturated break like elastic, ZULI mimics the emotional push-and-pull of the protagonist, who overcomes their anxiety to escape into the outside world, only to retreat immediately back to the safety of solitude. The track puts the whole of 'Lambda' into sharp focus - through the walls of noise and exuberant, intoxicating waves of ambience, ZULI finds solace in limbo between the manic extremes.

Formed in Granada by Ani Zinc, who also recorded under the name Neo Zelanda, and Javier G Marín, Diseño Corbusier were a fascinating and unique project of avant-garde electronics. Their second LP, "El alma de la estrella" (1986), is a marvel of sound craftwork that gathers elements of industrial music, minimal techno and vocal manipulation through a dadaist and completely personal approach.

Honour’s debut album is a ligament stretching from Lagos to London and to New York, curling across the diaspora and brushing the darker hues of blues, hip-hop, free jazz, ambient, gospel with Christian mythology and Yoruba folklore. As cinematic as it is painterly, Àlàáfíà is a meditation on themes of life, death and love that pulls inspiration from the poetic profundity of God, remembered dreams, unexpected casual conversations, field recordings, literature, ephemera, and personal archives. The result is an impressionistic vision in Black and Blur that both exhausts and implicates language and that sublimates boundaries between everywhere and nowhere; history and the present; the individual and the universal.

Caligula is the third studio album by American musician Lingua Ignota, released July 19, 2019 through Profound Lore Records.[1] Recorded after the signing with the record label in 2018, the album features collaborations with several other musicians, a departure from the recording process of her previous album All Bitches Die (2017), which was done alone in a shed in the woods, and features more acoustic instrumentation than the aforementioned record. It thematically explores themes of abuse, misogyny, hate, vengeance and violence in its lyrics, inspired by Hayter's own experiences in Providence, and features influences from both classical and extreme music. The album received universal acclaim from music critics, and made appearances on several year-end lists.

Twin heavyweights Kevin Richard Martin (The Bug) and Joseph Kamaru (KMRU) unite for Disconnect, a powerful study of dread, hope, and profound sonics that marries depth-trawling dub with Kamaru’s voice, ambient sensibilities, and negative space. Kevin Martin first became aware of Kenyan ambient musician KMRU “watching the short 2020 documentary Under The Bridge,” he tells us. “Which, aside from immediately finding Joseph's approach to sound and music so instantly impressive, I also found his spoken voice possessed a captivating, lilting, tonal quality, with his soft-spoken accent.” Following this, Martin dug into Kamaru’s records, and found not only a kindred spirit in skillful exploration of sonic space, but also a fan of The Bug. So began a mutually respectful relationship, initially held in Instagram DMs and reciprocal admiration for each other’s work and eventually blossoming into an invitation sent by Kevin to Joseph to collaborate on a new album. The results - debut collaboration album Disconnect - collect a back-and-forth creative dialogue that started life in Martin’s studio. “I think I surprised Joseph by suggesting he contributes vocals,” Martin tells us. This ability to identify, isolate and exploit the nonstandard is a trait shared by both musicians and employed to devastating effect on Disconnect. Its vocals, sitting somewhere between intonation and spoken word, capture the ear and fizz with simmering power. They are indeed a surprise, coming from a musician specialising in instrumental, field recording-laced ambient musics, but tell intensely evocative stories, weaving poetry into the pair’s grandiose greyscale musical architecture. The record is just as deep, expressive, and arresting as we can expect from Kevin Richard Martin, following his acclaimed rescore of Solaris (released in 2021 on Phantom Limb) and a handful of self-released solo albums that explore a sound just as heavy as The Bug but at a menacingly slower pace. And it is just as evocative and unique as Kamaru’s KMRU canon, each object delicately and purposefully placed so the timbral mosaic builds with shimmering and hypnotic beauty.

フィンランド電子音楽界の生ける伝説であり、Mika Vainioらと共にPan Sonicでも活躍した実験的作家、Ilpo Väisänenによる2022年の12インチ作品をストック。今この時間も繰り広げられ続けている、無視できない殺戮と破壊に対する、鎮静と鎮魂が込められた、力強く瞑想的な、漆黒のポスト・インダストリアル作品。版元は、「自由と独立のために戦うすべての人々に捧げる」ウクライナの新しいレーベルであり、MuslimgauzeやMerzbow、Noémi Büchiの作品も発表している 〈I Shall Sing Until My Land Is Free〉。Noel Summervilleによるマスタリング＆カッティング仕様と盤質も万全。

「この侵略には依然として反対だ。夏は最高だが、一部の人にとってはそうではないのだ。ロシアはウクライナで残忍な戦争を続け、民間人を爆撃し、民間人を殺害し、都市や村を意図的に破壊している。

戦争は続いており、ロシアの戦略はそれを長引かせ、西側諸国がいつかすべてを忘れるようにすることである。プーチンは、エネルギーと食料を武器として使い、我々の団結を破壊しようとしている。

現在、ヨーロッパで大量虐殺が起きていることを指摘したい。ちくしょう、今ここにあると。忘れるな！」
- Ilpo Väisänen