Back catalogue: Post Rock/Experimental

Review: Deepspace's 'Neon Blue Utopia' is the 16th album from the Brisbane-based artist is a heady brew of ambient electronica, spacewave and post-rock, conjuring a dreamlike world like a cyberpunk film score filtered through a kaleidoscope. 'Utopia=Visions' sets the tone with its expansive soundscapes and shimmering textures, evoking a sense of awe and wonder. Tracks like 'Parkour on Lazarus Heights' and 'Rainy... Precinct' paint a vivid picture of this futuristic metropolis, with their pulsating rhythms and otherworldly sounds capturing the city's vibrant energy and neon-lit glow. 'Entering Aquarium Prefecture' and 'Bubble Echolalia District' delve into the surreal, their off-kilter rhythms and disorienting soundscapes suggesting a world where reality is fluid and dreams are tangible. The album's second half continues the exploration, venturing into darker and more experimental territories. 'Floor 426-B' and 'Empty Office Space' hint at the city's hidden depths and the lurking shadows beneath its gleaming facade. A proper journey through a world of sonic imagination, this is an immersive and evocative soundscape-fest.

Review: Dirty Three's first full-length since 2012 is a strong trip through six cinematic movements.Love Changes Everything is a windswept trek through arid deserts and moonlit forests, a contemplation of love that blends melancholy jazz, ambient folk, and tender post-rock. The trio, comprising Warren Ellis, Mick Turner and Jim White, has a knack for producing instrumental music that defies categorization. White's drumming is as textural and unfastened as ever, Turner's riffs hum with punk ferocity and raw Americana, while Ellis's strings, piano, and synths provide a widescreen theatricality. The album opens with Turner's disfigured twangs and Ellis's soaring strings, gradually building to a militaristic thump. Tracks like 'II' and 'III' offer slow-motion piano melodies and spectral strings, creating visuals of spectral faces and oily vapors. Love Changes Everything unfolds like a film, with moments of fiery discordance and serene contemplation. Ellis's fiddle on 'V' and the tempestuous conclusion on 'VI' exemplify their dynamic range. This album is a sublime addition to their catalogue because of their matured, exploratory sound.

Review: This concept album is a sonic odyssey into the depths of an acid trip, capturing a multitude of states of consciousness and profound internal emotions. It's a rich experience, best appreciated in different mind states and with full presence. The album is rooted in psychedelic/space tock and Krautrock, with touches of psych folk and electronic elements. It features acoustic guitar, delicate flute, harp-like instruments, bells, and assorted percussion, creating a lush and textured soundscape. The music is mostly instrumental, peppered with occasional vocals and spoken word, reminiscent of early Pink Floyd, Tangerine Dream and Popol Vuh. The standout track 'Silence' exemplifies the album's excellence, though all tracks are commendable. The album delivers a dark, atmospheric, and hypnotic sound. Percussion, flute, organ, guitars, and early electronics create proto-industrial sound collages that captivate the listener. DOM, consisting of Gabor and Laszlo Baksay, Rainer Puzalowski, and Hans-Georg Stopka, evolved from the beat/psychedelic band Set Mind. Regulars at Dusseldorf's underground clubs like Creamcheese, they shared the stage with early Kraftwerk and Can, cementing their place in the Krautrock pantheon. This mostly looked over album is a great find for those into progressive rock music.