New releases last two weeks: Experimental/Electronic

Review: French outfit Chateau Flight have spent two years in the studio making music, playing around and experimenting and now the fruits of that work are presented on this new album La Folie Studio. It is full of the sound of analogue machines conversing and the artists themselves speaking through their darkened basslines or eerie pads. Occult worlds are crafted, ambient soundscapes are cooked up and leftfield cosmic explorations occur throughout a journeying album full of a wide range of emotions. This lovely record features guests on the odd track such as Johnny Nash on guitar, Cosmic Neman mumbling on 'Mange', John Cravache playing 'his special organ" and Bony Bikaye singing on 'Esika Molimo Ezali'. It's an occult world of left of centre sound that will keep you coming back for more.

Review: Estonian label RR Gems continues to fly the flag for the finest experimental jazz music, introducing the world to the sound of EEG Coherence. Recorded at the legendary Hotel 2 Tango studios in Montreal, their debut album is a flowing, engrossing affair which flirts with free jazz forms while keeping a certain smoky, groove-minded vibe at the centre of the rhythm section. It lopes and slopes, letting prominent guitar work needle its way around looming basslines and splashy, spaced-out drums with splashes of vocals, flutes, sax and keys darting about in the mix for good measure. If you value free jazz you can latch onto, this album is a must-check.

Review: Something of ground-breaking album on its initial release in December 1994, ISDN is one of Future Sound of London's most name-checked sets. It's effectively a re-edited and rearranged collection of live recordings - jammed out tracks that were initially broadcast to the world via ISDN links to clubs and radio stations, which FSOL brilliantly moulded into a mind-mangling journey through IDM, trip-hop, proto-big beat, dub, ambient, found sounds, field recordings and wayward electronica. To celebrate the album's 30th birthday, it returns as a two-disc set, freshly 'amalgamated and re-sequenced' by FSOL to include material from both previous editions of the album. It is, then, a kind of 'definitive version' of the LP, and one that still sounds as joyously weird, trippy and psychedelic as it did first time around.

Review: Japanese industrial noise duo The Grogerigegege are something of an urban legend within the underground music scene. Apparently meeting at a sex club where a shared appreciation for envelope pushing sex acts, punishing aural sonics and a bizarre avant-garde perspective on art would lock them together for ensuing decades of musical mayhem. Known for incorporating nudity, violence, broken glass and hoovers into their live set, the pair would even take a lengthy respite while one of the members simply disappeared for years on end before reconnecting with his counterpart. As If It Had Always Been Determined Since This Day Was Born transports listeners back to the pair's earliest forays into calculated extremity with blown out, overdriven remixes taken directly from the master tapes of their first 7" single released back in 1988. This includes the long sought after remaster of 'Mistress' originally used in the legendary Enoshima Beach Flexi Burning Live (which the pair opted to burn all original pressings of rather than make readily available). You do have to remember these are the same lads who sold dried out octopus tentacles in cassette cases during one tour as a limited release, and smashed up the master recording of another work and put the broken pieces in a metallic box that the listener shook to hear the album, hence the title You Are The Music Maker. If the utter lunacy of The Grogerigegege isn't detailed enough here, well this pressing comes complete with 5500 word essay-style liner notes penned by 55 year old Gero himself (Juntaro Yamanouchi).

Review: Oakland, CA trio Houses Of Heaven draw on elements of industrial pop, post-punk, electro and experimental on their latest full-length Within/Without, their second LP for label Felte. Channelling the production prowess of Matia Simovich (INHALT) - and featuring top-of-their-game guest vocals from Douglas McCarthy (Nitzer Ebb) and Mariana SaldaNa (BOAN) - Within/Without marks a turn away from the dub-infused movements of their prior 2020 Silent Places, going full-on weighty and noir cyberpunk, but with an extra ear for texture that most other releases operating in said style cannot claim to match. Opener 'Strange Temptation' prefers its shutdown Reeses and crunching arp sequences, while mid-record peaktimer 'Deserve' proves itself unafraid of rapturous verbs and washes; the lust could go on, but all tracks here have a remarkable ability to both strike fear into the hearts of us puny humans and simultaneously make us prance.

Review: A fresh and exciting new concept record from ambient master Jan Jelinek; the new LP Social Engineering is made of nothing more than the text-to-speech renderings of the content of phishing emails received in the musician's inbox over an undisclosed period. Over the course of 13 tracks, Jelinek reworks, timestretches, juggles and expands these robotic narrations into speech-synthetic soundscapes, making for a weird and well-paced foray into a certain greyscale sonic unheimlich. Beginning with a Microsoft impersonator and ending on a 'polite threat', Jelinek's latest record presents an ironic conundrum; indeed, Social Engineering presents the only kind of decision under pressure - whether or not to buy ingenious new experimental ambient music - that we can't refuse.

Review: French dystopi-dance duo Justice gear up for their fourth full-length album, Hyperdrama. Owing to their towering status as producers and artists, it marks their first album in seven years since 2016's Woman. Unlike the neater fusions of disco and funk that the band have achieved in the past, Auge and Rosnay describe their latest as an embittered battle between the two stereotypes, elaborating that the album 'oscillates between pure electronic and pure disco but you never really get the two at the same time'."

Review: Hyperdrama is the fourth full length album from the French Duo Justice. Two songs have preceded the album's May release. 'One Night/All Night (featuring Tame Impala)' is destined to be a club hit with its catchy EDM pop appeal. The bombastic electro pulser 'Generator' will also have a strong club appeal to it and you can expect the rest of the album to be just as strong with a production job that's clean and the tracks are powerful. This version comes in a beautifully designed gatefold 2xLP that also includes a sticker.

Review: South African Warrick Sony is a ground breaking composer who was behind the Kalahari Surfers project which now gets a vital spotlight courtesy of Emotional Rescue. This compilation shows how effortlessly eclectic his sound was - from jive rhythms to jazz, tabla to political speeches and much more in between. A Hindu pacifist who was once conscripted into the South African Defense Force, he founded this group as a way out getting his ides out there, calling on other musicians as and when he needed them. It was the first radical white anti-apartheid pop in South Africa and as this vital collection shows it explored polyrhythms, slow motorik, dub sound collage and even a goofy cover of Nancy Sinatra.

Review: Reissued via French label Rotorelief on its 35th Anniversary year, Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella is the debut album of trailblazing noise and avant-garde musician Steven Stapleton. Catapulting Stapleton's macabre alias to success in the thin breath of just three through-composed drone pieces, this sonic statement was unparalleled at the time (1979), with its unusual mix of prepared tinkerings, feedback drones and cog-jams famously causing Sounds magazine to momentarily abandon their five-star rating system to specially award the album five full question marks. Absurdly sadistic, the album is also known for its original publication of the infamous Nurse With Wound List in the liner notes, which listed the entirety of Stapleton's influences going into the album's making - some acts named therein were so obscure that many fans speculate as to whether they were invented. An exemplary work of outsider music - or at least, one that is infamous by proxy to the more baneful works of the outsider music archetype - get ready to hear all things spectral over the more sustained tones: chains rattling, chairs squeaking, shakers shaking, even monologues in French.

Review: Prince Istari's earliest memories are of his mother playing the tranquil melodies of Erik Satie's pieces on the piano. Skipping school, he'd bask in the sun, absorbed by the serene tunes and years later in 2024, rediscovering his mother's sheet music sparked a creative resurgence. He transformed them into dub versions, crafting a tapestry of sound, and each piece's form dictated its direction, evolving from heavy dub to delicate piano and synthesiser blends. The finale, a relic from his past as Istari Lasterfahrer, features a distorted recording of his mother playing Satie to complete the circle. This special record comes in limited quantities of just 200 copies.

Review: Four years after his acclaimed Brame long player, Julien Chastagnol aka Ruby My Dear returns with his fourth album, A dada. It is another experimental sound world that is a joyous yet intricate fusion of drill 'n' bass and IDM, akin to what the artist himself says is "a breakcore lullaby." Across all four sides of wax, he goes in hard on the breakbeats and tightly programmed drums, with layers of scuzzy heavy metal sounds, looped and warped vocals and mind-melting synths that fizz and spin, explode and impulse on a constant basis to leave you feeling exhausted mentally and physically.

Review: At least one person has described Scythe's work as "expertly modulated space blues and isolationist architectures." First emerging from the ether (or at least that's how we like to think of it) through a series of clandestine cassette releases on Low Company in 2019 and 2020, Head X'Change almost feels like the culmination of all that has come before. A weird and truly wonderful place to spend time. A collaborative project between David West and R.A. Jones, elements of kosmische intermingle with a kind of earthy ambience, DIY electronics leading into white noise moments or new age melodies. At times it's so joyfully opiate you wonder if there's any way of getting back up off the pillow. In other moments, there's tension, eeriness, and uncertainty. Once you're in, it's a wild ride indeed.

Review: Wave Arising is former Spiral Tribe man Sebastian Vaughan with vocalist Kynsie and they are a duo that likes to eplxore body, mind and soul "through intuitive listening of senses and inner energies by means of music , workshops and gatherings." This is their debut album and is an otherworldly mix of deep grooves and occult sonic landscapes. It has been made from various improvisations and avoids there use of sampling and as an album, this is one that feels very much alive. There are cinematic dub techno workouts, cascading synths and alien sound designs, menacing low ends and moments of majestic melodic beauty such as on 'Ronde Cinetique'. A brilliant debut.