Review: Basel-based experimental labels Amenthia Recordings and A Walking Contradiction join forces for their first collaborative release here in the form of the Flash Crash/Hack Crash EP. Both labels are known for pushing boundaries within their close-knit creative circles and this one features Agonis' heavy stepper and Konduku's whirlpool of low frequencies on the Amenthia side, while Lemont continues the low-end, tripped-out vibe. Varuna represents A Walking Contradiction and delivers swampy, slow-motion sounds in their signature style. This release embodies both labels' commitment to daring, unconventional electronic sounds.
Review: A record that explores deep, hypnotic rhythms with a strong tribal and mystical undercurrent, the latest Siamese Twins records pushes the boundaries of what is possibly in eastern influences underground techno. Side-1 opens with 'The Golden Triangle', an atmospheric introduction that feels cinematic, setting the stage with ambient textures before giving way to movement. 'Lens of Time' follows, locking into a deep, primal groove where rolling percussion and rich low-end create an entrancing effect. On Side-2 'Mekong' leans into tribal mysticism, blending ancient rhythmic patterns with a modern pulse. The production is detailed yet raw, drawing from rich percussive layers. 'Ruak' closes the EP with pulsating bass and deep, rolling rhythms, channeling Eastern influences into a hypnotic techno flow. A powerful release from Siamese Twins Records, driven by Sunju Hargun's distinct vision.
Review: KANZ's artist alias, when reversed, becomes ZNAK, meaning "SIGN" in Bulgarian. He hails from Lyulin, a district known for breeding either crime or art, and thankfully Kaloyan embodies the latter. This outing on MELMAK is opened with '25% Personality (with Dickie)' which is deep and atmospheric dub techno. 'Low Orbit' is just as deep but more driving with some pad laced beauty up top, 'Trench Music' then brings frosty Berlin dub techno vibes, 'Dub Tool A' has conscious vocal mutterings and 'Splais' is a slow motion gem for late night contemplation. 'Kopriva (Opa Kanz Rerub)' is a spine-tingling closer with angelic vocals.
Review: Still riding high from the success of his superb re-make of Manuel Gottsching on Test Pressing ('A Reference to E2-E4'), Alex Kassian returns to Pinchy & Friends - who released his similarly popular 2021 EP 'Leave Your Life' - after a three-year break. Beginning with the lusciously languid, Balearic, effects-laden and sonically layered title track ('Body Singer', where Jonny Nash style guitars and tumbling sax motifs rise above a sparse drum machine beat and shoegaze-esque aural textures), the Berlin-based producer offers up a loved-up mix of weightless ambient bliss (Kinship), kosmiche soundscapes (the sun-flecked 'Skinship'), revivalist Krautrock (the Can-after-several-spliffs headiness of 'Trippy Gas') and immersive, cinematic excusions (the gorgeous 'Mirror of the Heart').
Review: Test Pressing is a legendary and influential blog that documents dance music's most special moments past, present and future, all from a mature and in-the-know perspective. It makes sense that it is now branching out with an all-new label arm, and it makes sense that the first offering is a real doozy. Alex Kassian is the man in control and he serves up a 90s, trance-tinged new age techno adventure with 'Voices' which also comes as a blissed out ambient version, and punchy tribal sweat-athon. 'Lifestream' then douses you in a world of psychedelic and tropical synth laden Balearic brilliance.
Weather Forecast (feat Prince Morella - Bluetrain Freestyle dub) (12:09)
Review: Mega-minimal ambient dub from Anton Kubikov, whose music emerges with all the push-pull of a locomotive piston. 'Weather Forecast' truly does sound like a meteorologists' crystal ball; synaptic chord pulses, and offhand bass licks, accompany the mix's overall drive. Prince Morella, an as yet unknown toaster, appears on the vocal version of the B with Bluetrain at the controls, delivering a freestyle that repeats the urgent mantra: 'rain is a gift'.
Review: Outlier experimental label Eating Music brings back more for us to chew on here in the form of a varied four tracker from various artists. It is Mindexxx that opens with 'Track 1' which layers up snaking synths and deeply buried dark bass that grows in intensity and washes over you like a Tsunami. Laughing Ears then cuts back to a tender mood with soft piano chords and slowly unfolding rhythms that are warm and lithe. Gooooose's 'The Dusk Of Digital Age' is a churchy affair with textured drones shot through with beams of synth light and Knopha's 'Off-Peak Season Tourists' layers up choral vocals and jumbled drum sounds into something hypnotic and escapist.
Review: It is always a joy to hear from the Music For Dreams label. Not only is it a musically interesting outlet but also one that digs deep into plenty of fascinating different scenes. And this is one such case as the project is centered around 99-year-old Iboja Wandall-Holm who sings about memories from her childhood growing up in Eastern Europe. The record plays out like a musical encounter where the songs are worked into magical forms by Danish musician Mikkel Hess and other members of his Hess Is More band with extra collaborative input from label head and producer Kenneth Bager.
Review: Trash Can Lamb is the layers solo work from Akron-based multi-instrumentalist Keith Freund. With two decades of musical exploration, Freund, known for his work with Trouble Books and Lemon Quartet, crafts an eclectic blend of analogue synthesis, piano, bass, saxophone, and field recordings. This album delves into experimental realms, melding 8-bit delays with acoustic elements that give rise to great ethereal melodies. Handmade electronics coalesce with wistful piano and saxophone melodies to make for a juxtaposition of chaos and tranquillity. Freund captures the essence of a backyard at dusk, where the cacophony of nature meets the serenity of twilight.
Mending Space Entering Streams Of Mist For Visible Becomes The Rays Of Light, Time Touches (4:42)
The Equilibrium In Transition (6:01)
Echoes Of Ephemeral Breathing To The Floating Forest (2:34)
Folding Futures Present Wake The Dust In Obscurity (7:43)
The Sea Brings, Waves Of Casted Silver Softly Crawls, Into Moss We Sink (4:06)
Shallow Winds In Atoms Kissing, Harvest Nights Forgotten Lights Strain The End Of New Beginnings (4:43)
Review: Ben Kaczor and Niculin Barandun's debut album, Pointed Frequencies come on the tasteful German outlet Dial Records and explores the healing potential of sound through six immersive tracks. Their collaboration began in 2022 for an audiovisual show at Digital Art Festival Zurich and has developed masterfully since and as Kaczor studied sound therapy, Barandun became intrigued by its possibilities, and it is that which has inspired the album's direction. It incorporates therapeutic elements like binaural beats and solfeggio frequencies into a seamless blend of ambient and experimental music. Through free improvisation, the pair have cooked up some brilliantly contemplative pieces here.
Review: French label Good Morning Tapes welcomes Paris-born electronic innovator and 70s GRM alumni Ariel Kalma New York-based trio Asa Tone for some serious deep ambient soundscapes. The wellness movement has never been more polar than it is now but if you ask us, nothing could be better for your mental health and sense of self than sitting a dark room with this one nice and loud so you can soak up its high fidelity designs, the microscopic pads, the whimsical melodies and slowly shapeshifting sounds in all their glory. A tremendous work.
Review: Optimo Music continue to dazzle with their increasing experimentation, this time welcoming Finnish producer and K-X-P frontman Kaukolampi to the fore. Exploring the concept of sound as a physical and spatial phenomenon, the LP explores Kaukolampi's idea of "the sphere": his metaphysical and/or musical analogy for being subject to an undetectable outside force, as if being manipulated by an unseen cult. Hypnotic, eerie grooves play out in a muted, time-crystalline fashion, all tracks evoking the feeling of being locked in spherical amber, unwitting.
Review: Eli Keszler hears the New York percussionist and composer of the same name lord his soundworld over as yet unhaunted terrains. Rooted in dust residues of American abstraction, jazz noir, ancient melodic memory and crumbling industrial forms, the record unfolds as a footworking meditation on beauty and erosion, gawping at the anguishes and awes of the present moment. Keszler's metamorphic practice spans releases on PAN, Empty Editions, and ESP Disk, as well as collaborations with Oneohtrix Point Never, Rashad Becker and Laurel Halo. Icons emerges as a natural continuation of his previous, equally as unsettling LP Stadium from 2018, and this one emerges as its natural progression. The release coincides with a conversation between Keszler and filmmaker Adam Curtis, framing the album within a wider dialogue on sound, history and collapse.
Review: Dubio makes no secret of its intention, from the word go. The opening, titular track give us the lay of the land. A record inspired by the soundtrack to a puzzle game of the same name, there's a cyclical, perpetual kind of motion to everything here. Obviously, we know where the start of each piece is, and the conclusion. But the vibe isn't forward motion, nor backwards. Instead, there's a gradual meandering tempo, a loose, open-ended kind of aesthetic that invokes the old cliche - the journey, not the destination. And with that, you can't help but sense a little mystery here, too. Kettel isn't always known for this type of free spirited exploration, and yet here we are, and how we got here is part of what we're trying to figure out. Musically, that means warm pads and string refrains, twinkling chimes, plodding, almost unsteady percussion and a sense of wonder and perpetuity throughout.
Review: Reimer Eising, aka Kettel, and Lennard van der Last, aka Secede, had already been lifelong friends by the time they began working on When Can. The Dutch producers wanted to create a seamless listening experience that would unfold and develop as a film does, using cinematic-leaning sounds to achieve their big idea. The whole thing feels like a narrative, a beginning-middle-end, which is doubly impressive when you learn there was no grand plan to begin with. Just two pals exploring what might come next. Originally released in 2012 - hark!, those heady, innocent days - what's perhaps even more astounding than the picturesque, immersive soundscapes here, is the fact this is the first time When Can has made it onto vinyl. Having said that, 12 years ago was another time and place, not least in terms of music sales, so let's not dwell on what everyone was thinking by not bringing this out on wax sooner. Instead, savour every moment of the rich, dreamy electronica.
Review: Canada may not shout as loud as the US, UK or Germany when it comes to electronic music, with the exception of Richie Hawtin perhaps, albeit frequently assumed he's American, and is actually part-British. Nevertheless, the larger North American state has a truly remarkable legacy in house, techno, ambient, and synth-y odds and sods.
It's proof the apple never falls far from the tree, given proximity to some of the bonafide birthplaces of those sounds - Chicago and Detroit. Edmonton's Khotin is indicative of the difficult to define tones that emanate from the Maple Leaf and its people. So much texture, pouring with emotion, and fundamentally born of new ideas, or at least different ways of thinking. Release Spirit, his third album on Michigan's Ghostly International, is thoughtful, intelligent, downtempo electronic stuff, crafted with love and attention to detail.
Review: John Carroll Kirby has worked with the likes of Solange, Frank Ocean, Sebastian Tellier and many more, but he's equally celebrated as a solo artist who returns to Stones Throw for his fifth LP. This time around, the album has been made in tandem with incredible Canadian artist Yu Su, who lends her touch to the production around Kirby's infectious keys. The album is largely instrumental save for an uplifting guest spot from Laraaji on opening track 'Dawn of New Day', but as with previous Kirby albums he has more than enough to say in the conviction of his playing. Ever chameleonic, his sound on Dance Ancestral is removed from the solo piano ambience of Conflict, but as ever Kirby's deep-rooted musicality soars, buffeted by Yu Su's fantasy confections. If you're in search of something to make you feel good, this record has positive energy for days.
Review: When KMRU accessed the Royal Museum of Central Africa's sound archive, it inspired his last album Temporary Stored which engages with colonial sound archives. Temporary Stored II extends that superb concept by inviting artists like Aho Ssan, Lamin Fofana, Nyokabi Kari?ki, and Jessica Ekomane to critically explore these recordings of African traditions. The album reimagines these historical sounds as seeds for future sonic explorations that confront the colonial past while addressing contemporary political, economic, and ecological issues. It emphasises the importance of listening back to these archives to reclaim lost traditions and challenge existing knowledge systems rooted in anti-blackness.
Review: Pieter Kock shows us how it's done with The End II, a fantastic new experimental beats LP manifested on the Macadam Mambo label, in a move that has been described as "quite unexpected". A doyen of post-10s German kraut-tronics, Kock first found his savvy as a releaser of retrofutural cassette tapes for various outlets - the likes of RIO, Meakusma and Moonwalk X - all of which assumed album form (to date, Kock has not released a single single or EP). Macadam Mambo offer a suggestion as to why this is: "all the demos that he sent were so good that there was no question about doing something." If by "doing something" you mean releasing over 16 strident club-churners in the style of far leftfield dub, synthpunk and krauty Krankenschaften, you've made no mistake. Dive into any one of these exotic exo-treats, and your eyes will just as surely turn helical.
Review: Transporting us to a waking dream of Los Angeles, two enigmatic music makers from the City of (Fallen) Angels present a truly stunning journey into hazy half-memories, afternoon fantasies, borrowed recollections and thoughts of things yet to happen. In many ways, Salt & Sugar Look The Same feels incomplete; tracks, half-tracks, movements, bits and pieces feel like our minds often work. Was that what we think it was? Did this happen? According to the official release burb, these 18 brief but beautiful compositions combine finger-plucked guitar work, the lens flare of electronica, and warped samples to create a take on the American primitivism music movement. The result is something that transcends boundaries of sound, time and place, and exists in a world of its own creation.
Review: Isik Kural's Moon in Gemini is a captivating album that blends slow, evocative narratives with symbolic storytelling. While also combining environmental music with folk influences, Isik's vocals float over pastoral sounds, chamber instrumentation and archival recordings which trace a line back through his own diverse musical journey. The album's 14 tracks immerse you in a dreamy, liminal space - 'Moon in Gemini' for example reflects a multi-faceted and nostalgic exploration of Isik's past work by including recordings from Turkey, Miami, Helsinki, and Glasgow. Inspired by artists like Nina Simone and Aldous Harding, Isik experiments with new techniques of theirs to make this album a poetic, naturalistic experience with a portion of proceeds sent to benefit Mor cat? Women's Shelter Foundation.
Review: The Udacha label might have been away for a while but is now back with a vengeance. First up for this return is a new long player by the mighty fine Kurvenschreiber quarter, which is made up of Sergey Komarov, Vlad Dobrovolski, Ilya Sadovski and Alexey Grachev. These sound artists have been excelling in their field for some 10 years now and use synths as well as found sound objects to create their work. Magnetic tape loops, various instruments, pre-recorded loops, shortwave radios, transformers and much more give rise to this unique record which mixes up Boolean jazz, kurventronika and post-rock.
Review: Four Seasons in Kyoto marks the final chapter in Argentina-based electronica group The Kyoto Connection's ambient trilogy following Postcards and The Flower, The Bird and The Mountain. The series is inspired by the ambient and environmental music of 1980s-90s Japan and this final piece of the puzzle paints another delightful musical portrait of rural life that has long been shaped by nature and tradition. Across 14 delicate, transportive compositions, producer Facundo Arena captures the emotional rhythm of Japan's changing seasons with whimsical melodies and gentle percussive patter, soothing vocal coos and more eerie and autumnal pieces. With contributions from Japanese friends and fans, this record feels personal and heartfelt and is a brilliant farewell to a project rooted in beauty and nostalgia.
Review: "I would beg listeners both animal and human to allow these beautiful landscapes I've created in collaboration with Mark Nelson to sing and speak and weep for themselves. Please. Forget about words. Just LISTEN," says Kramer of this latest exploration of sounds less familiar. Meanwhile, Nelson quotes the legendary Arthur Russell for his take on things: "If I could convince you these are words of love, the heartache would remain but the pain would be gone". The Chicago-based composer and performer certainly summarises this listening experience. There's pure bliss running through these serene ambient, almost New Age-style tracks, but within that a certain reflective sadness. Crystalline melodies refract and develop, ebb and flow, at times making pure harmonies, in other moments more atmospheric refrains. They make us long for things that were or may be, although there's still space here for taking stock and acknowledging what is.
Cherry Blossoms Fall On A Half-Eaten Dumpling (4:01)
A Poppy Blooms (2:27)
Empty Handed I Entered The World, Barefoot I Leave It (3:23)
Review: Twinkle3 are a trio made up of accomplished flautist Clive Bell and electronic experimenters David Ross and Richard Scott. Their latest project welcomes the legendary David Sylvian into the mix alongside Kazuko Hohki, who was in 80s synth pop oddity Frank Chickens amongst other projects. Their collective venture for Cortizona treads predictably unpredictable territory, where minimalism, sound design and free improvisation merge into a meditative, distinctive whole. The woodwind and electronics intertwine in sublime fashion, resulting in a compelling trip for anyone who appreciates delicacy and risk in their leftfield electronica.
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