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Sleeparchive, "Senza Titolo" EP


He strode towards a long drink.

Running in the gutter,

scanning patterns.

Skin staring, stirring unbelief.

Scarred metal faces

on the iron streets,

spitting blood.


Samples and similarly cryptic information can be found here.

3374 Hits

Shit and Shine, "Everybody's a Fuckin Expert"

The ascent of Shit and Shine sits as one of the great audio headfucks in recent years. From its genesis out of the South London noise rock revivalist scene to a zone where rabbit-costumed maniacs bled a unique form of multi-drum and electronic hysteria to the current incarnation of destroyed lysergic dance music. Shit and Shine is the epitome of second-guess subversion. One with a foot in every pie it continues on a fantastic twisted path. Everybody's a Fuckin Expert lays forth another slab of inverted tranquility where general disruption is kept in check by the subversive charm unique to the outfit. Gunfire rhythms lay waste to androgynous sonics on the opener "Ass," deep sea disorientation allows pools of plasticine audio to rise on "Rastplatz" whilst "Picnic Table" rinses electro out of thick gelatinous cybernetics. Everybody's a Fuckin Expert takes a smorgasbord of sounds and styles and contorts them into a bright new hope in twisted theatre, disorientating dance and hefty hedonism.

Both the faint- and strong-hearted allowed permanent entry to this club.

More information can be found here.

Everybody's A Fuckin Expert cover art
3471 Hits

Helen, "The Original Faces" (Grouper)

When I was a child, I spoke to Helen.

Helen is a pop group from Oregon. Liz Harris (vocals/lead guitar), Jed Bindeman (drums/tambourine), Scott Simmons (bass/guitar), and Helen (back up vocals). Originally started with the intention of being a thrash band, it turned into something else entirely. The Original Faces was recorded over a period of several years in Portland by the band members, their friends Nick, Chris and, largely, Justin Higgins. Written together, some songs based on Liz and Scott's demos.

The song "Violet" can be heard here.

More information can be found here.

3592 Hits

Ashtray Navigations, "A Shimmering Replica"

First ever VHF release by the 21-years-running Ashtray Navigations, bringing one more core piece of the UK freakout underground back to the mothership. With a discography that boggles even the most ardent Discogs user and an on-point WTF graphic sensibility, Ash Nav fits perfectly into the extremely fertile and prolific scene that has produced titans like Vibracathedral Orchestra and Sunroof!. On this generous 100 minute package, Phil Todd and Melanie O'Dubshlaine essay a kind of guitar and electronics exotica, with burbling rhythms, Heldon-like laser guitar leads, field recordings, synth racket, etc – the totally fun take on Les Baxter’s all-time classic "Quiet Village" (here wittily retitled “Quite Village”) is a good example of the explorer spirit at work here. Considering the amount of unhinged psychedelic fuzzwah lead damage laid out across this thing, it’s arguably the most effusive guitar heroics record of the genre, hopefully inspiring a new generation of young rockers out there to get on the bus.

More information can be found here.


3429 Hits

Vibracathedral Orchestra, "Rec Blast Motorbike"

Return of the mighty "classic" lineup of the VCO with their first new music in many years. Here the quintet of Michael Flower, Neil Campbell, Bridget Hayden, Adam Davenport, and Julian Bradley (joined by raconteur John Godbert) feature in a set of upbeat tracks that put the group's radical instrumental strategies into a package of full-on rock action.

More information can eventually be found here.



4077 Hits

Carter Tutti Void, "ƒ(x)"

Chris Carter, Cosey Fanni Tutti (Chris & Cosey / Throbbing Gristle) and Nik Colk Void (Factory Floor) expand and explore onward from their critically acclaimed 2012 debut collaborative album Transverse. Featuring their distinctive metallic guitar sound, resounding bass lines, electro industrial rhythms and heavily processed vocals this album is not for the fainthearted.

Out 9/11/2015.

More information can be found here.  And here is a brief teaser video.


3732 Hits

Pinkcourtesyphone, "Sentimental Something"

Pinkcourtesyphone sends you a Sentimental Something from the depths of its obsessed heart. A sonic love note of smudged ink. Joined by the otherwordly Evelina Domnitch, friend and former cover model/vocalist on Description of Problem LP. On the central core "Tears of Modernism" Miss Domnitch wields her dark magic on Theremin, weaving a mournful kiss on the envelope from beyond.


Pinkcourtesyphone is a continuing project by Los Angeles-based sound artist Richard Chartier (b.1971).

He is considered one of the key figures in the current of reductionist sound art which has been termed both "microsound" and Neo-Modernist. Chartier's minimalist digital work explores the inter-relationships between the spatial nature of sound, silence, focus, perception and the act of listening itself.

Pinkcourtesyphone is a more emotional, dare one say musical side of his work. Pinkcourtesyphone is dark but not arch, with a slight hint of humor. Pinkcourtesyphone is amorphous, changing, and slipping in and out of consciousness. Pinkcourtesyphone operates like a syrup-y dream and strives to be both elegant and detached.

Pinkcourtesyphone's recent critically acclaimed work Description of Problem (LINE, US) features guests/collaborators: Cosey Fanni Tutti, Kid Congo Powers, AGF, William Basinski, and Evelina Domnitch.

Chartier's sound works/installations have been presented in galleries and museums internationally and he has performed his work live across Europe, Japan, Australia, and North America at digital art/electronic music festivals and exhibits. In 2000 he formed the recording label LINE and has since curated its continuing documentation of compositional and installation work by international sound artists/composers exploring the aesthetics of contemporary and digital minimalism.

More information can be found here.

3643 Hits

William Basinski and Richard Chartier, "Divertissement"

Divertissement is the third collaborative full length from minimalist composer William Basinski and sound artist Richard Chartier.

The duo utilize electronics, piano, tape-loops and short wave radio to evoke a dense atmosphere suggesting hundreds of years of history rising up from the depths of a reverberating cathedral. Subtle, buried and intense murmurs of melody morph through this deeply consuming and slowly evolving composition in two parts.

Pressed in an edition of 500 with beautiful cover drawings by artist James Elaine.

More information can be found here.

3948 Hits

Alessandro Cortini, "Risveglio"

Though known as a touring and recording musician associated with Nine Inch Nails, Alessandro Cortini has really come into his own via his Forse trilogy and his 2014 Hospital Productions debut, Sonno. For his Hospital follow-up, he maintains the grittiness and intimacy introduced on his debut, but expands upon it, offering a wider spectrum of emotion and depth.

Like Sonno, Risveglio was written and recorded while on tour. The drive to create intimate works during late-night downtime reveal Cortini to be committed to personal vision beyond the call of duty. While Sonno was created using only a Roland 202 and delay, Risveglio adds a Roland TB303, synced to the 202. In his own words, "The 303 can be such a haunting instrument used in a certain way, and I felt it completely fit the mood of the previous work I have done on the 202, especially when given a specific location in’s such a living instrument." The addition of Roland TR606 gives one of the pieces a rhythmic pulse that separates it from the preceding synthscapes and renders Risveglio altogether a more dynamic affair than Sonno.

With Risveglio, Cortini implores and emphasizes the imperfections and visceral textures of electronics vacant from so much contemporary solo synthesizer music. Furthermore Cortini carves out a similar space to what Kevin Drumm's Hospital releases have done for the worlds of Drone and Noise by finding the emotional and ultimately human voice within synthesis.

More information can be found here.

Risveglio by Alessandro Cortini.  Vinyl Double LP, CD.

4227 Hits

Stephen O'Malley, "Gruidés"

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Sunn O)))’s Stephen O'Malley delivers an incredible solo work for Demdike Stare’s DDS imprint, recorded together with French 35-piece improv orchestra ONCEIM.

The dark interpreter, Stephen O'Malley ov Sunn 0))), presents his towering debut orchestral composition Gruidés; commissioned by French 35-piece improv orchestra ONCEIM - l'Orchestre de Nouvelles Créations, Expérimentations et Improvisation Musicales - and released thru Demdike Stare's DDS label.

In early 2014 O'Malley was approached by pianist and composer Frédéric Blondy to write a work for the orchestra, comprised of exceptional musicians from the fields of contemporary, jazz, experimental, improvisation and classical. Understandably intimidated by the prospect, but encouraged to "just be punk rock about it," the preternaturally gifted composer has conceived a technically demanding - for the players at least - and richly rewarding longform drone piece intently focused on harmonic experimentation and overtone study. During its 35-minute lifespan, Gruidés requires the musicians to sustain pitches for several minutes (which is difficult enough for strings, and a real feat of endurance for woodwind), yielding a gloaming spectra of eliding dissonance rent in sliding tone clusters and lucent geometries punctuated by a similar whipcrack percussion as used in his Scott 0))) collaboration. It makes great use of the acoustic qualities of Saint Merry church, central Paris, as captured in the recording of IRCAM's Augustin Muller and mastered by Matt Colton with a detached spaciousness evocatively distilled in the cover art by Jean-Luc Verna. It’s an incredibly immersive piece that comes highly recommended if you’re into the work of Phill Niblock, Alvin Lucier, Ellen Fullman, Harley Gaber and, indeed, Sunn 0))).

Via Boomkat.

4888 Hits

Natural Snow Buildings, "Terror's Horns"


After a string of Natural Snow Buildings reissues, each more elaborate (um, longer) then the last, Ba Da Bing presents our first ever release of NEW material from the band. For a group known for its use of horror imagery and lyricism, perhaps the most shocking thing of all is that this album clocks in at just under 45 minutes. If there ever was an album that served as the proper entry point for Natural Snow Buildings, Terror's Horns is it.

It would be a stretch to call this Mehdi Ameziane and Solange Gularte's pop record, for Terror's Horns continues in the duo's tradition of combining many layers into sometimes blissful, sometimes contemplative, often menacing conditions. Stringed instruments trill, percussion gongs, feedback hisses and vocals maintain near monotone as if in a cultish trance. The songs still pride themselves on a slow development, and the album's progression lends the impression of descending down through the depths, past hidden cavities and chambers that you will never unsee once experienced. Featuring new artwork by Gularte which pays tribute to the backwoods horror of massacres involving chainsaws.

More information can be found here.

5295 Hits

Loop, "Array 1" EP

The end of 2013 saw the reformation of one of the most revered and respected late '80s UK alternative bands, LOOP.  The group, founded by Robert Hampson, hadn't played together since the early '90s, but got together to curate a night at the legendary All Tomorrow's Parties at Camber Sands. US dates followed in 2014 and they then got back in the studio to start recording.  The result is three brand new releases coming over the next year which see the band return to their hugely unique and era-defining sound whilst sounding fresh and exciting.

The first release is Array 1, four tracks and 32 mins of haunting, aggressive, beautiful noise.  "Precession," "Aphelion," "Coma" and "Radial" are the first songs to be heard from their recording session done in Sub Station Studios in Rosyth in Scotland with the current line-up of Robert Hampson (vocals/guitar), Hugo Morgan (bass), Wayne Maskell (drums) and Dan Boyd (guitar).  With only an early version of "Precession" having had any previous outing (at a show at the Garage in London at the end of 2014), this is the very first new music from the band since their third album, 1990’s lost classic A Gilded Eternity.

The next tracks will be released in the autumn in keeping with Loop's previous habit of putting out music in batches: Hampson describes it as "one project, with the same concept, delivered in bulletins."

More information can be found here.


4154 Hits

"England's Hidden Reverse" Revised & Expanded Edition


England's Hidden Reverse: A Secret History of the Esoteric Underground

by David Keenan

Revised & expanded edition

336 pages, hardback/paperback, 210mm x 148mm

Fully illustrated in colour.


* Full colour throughout

* Two new chapters and a significant number of new images

* Cover by Mark Titchner


Hardcover edition also includes:


120-page A5 zine with all new, exclusive interviews and imagery from more provocateurs of the EHR universe: including Alex Binnie, Antal Nemeth, Chris Carter, Colin Potter, Cosey Fanni Tutti, Drew McDowall, Ivan Pavlov, Jill Westwood, Jordi Valls, Matthew Levi Stevens, Paul Hurst and Christine Glover of Produktion, Robin Rimbaud and more TBC.


More information can be found here.


4172 Hits

Strategy, "Noise Tape Self"

Noise Tape Self by Strategy.  Vinyl LP.

With a quiet intensity over the last 12 years, Strategy has proven himself to be an incredibly resourceful and rewarding musician in both group settings and as a solo artist. In the latter guise, this Portland producer/multi-instrumentalist (aka Paul Dickow) has released a prolific amount of excellent work for quality indie labels such as Kranky, Orac, 100% Silk, Endless Flight, and Entr'acte, putting a cerebral yet sensual spin on dub, ambient, post rock, and house music.

For his Further Records debut, Noise Tape Self, Strategy delves ever deeper into his more ambient inclinations and experiments with tape loops. Most of the six tracks bear titles more suited for a library record, but Noise Tape Self lacks library music's faceless functionality; rather, it's an immersive soundtrack to stimulating one's imagination or losing one's bearings. Dickow says he became obsessed with making tape music in 2008, after tiring of using the computer as his main instrument. Fellow Portland producer/ingenious gear-tinkerer David Chandler (Solenoid) taught Dickow “how to make a tape loop that could be put inside a cassette tape. I got really into this, and got a 4 track, knowing this would allow me to have four synchronized loops per tape. I would then run each channel through a series of effects and 'perform' live mixes using the loops. I alternated between using source material of my own devising and using whatever source material happened to be on the cassettes I was hacking.”

Noise Tape Self kicks off with "Awesome Piano," in which a fragment of a beautiful piano motif gets overwhelmed by a glorious vortex of static and distortion. We're immediately submerged in Strategy's alluring and disorienting world, where rupture and rapture converge. "Cassette Loop" is a gorgeous ambient piece with a lulling, aquatic quality that recalls such masters of uneasy listening as Rapoon, O Yuki Conjugate, and Aube. The self-descriptive "Ominous Lovely Piano" is a ghostly, microcosmic form of dub, an ultimate kind of headphone music of deep psychedelic interiority that's reminiscent of Paul Schütze's 1996 masterpiece, Apart. The hypnotic/amniotic ambience of "Lovely Loop" whispers of a peaceful eternity; this track could be an important step toward a new, improved strain of New Age. The album closes with "Rhen's Loop"; here's where the album really soars into the stratosphere and grows surreal wings. A five-dimensional headfuck of what sounds like analog-synth growls and whirs and desolate drones, "Rhen's Loop" is Doppler-effected and disorienting, like a more somber take on Conrad Schnitzler's Ballet Statique. With Noise Tape Self, Strategy has found a way to build works of compelling, intimate grandeur with some of the humblest of sonic atoms. It's an alchemical wonder.

More information can be found here.

3805 Hits

Maja S.K. Ratkje, Jon Wesseltoft, Camille Norment, Per Gisle Galaen, "Celadon"

A record of slowly evolving beauty that gradually unravels its meditative design. Recorded in Norwegian sculptor and painter Emanuel Vigeland' s (1875 -1948) mausoleum in Oslo in 2013. A recording space that is famous for its acoustics and its long and full-sounding reverb. These three tracks utilize both the delicacy and the power of acoustic instruments and human voice in relation to the unique recording space. This is a record that is otherworldly and eerie but also with a great primal expressive force. Performed by four artists from different backgrounds coming together to create this singular set of music.



  • Beneath The Bough (13:03)
  • The Green Flood (18:57)
  • Afterglow (30:31)



Maja S.K. Ratkje - Voice and Bells

Jon Wesseltoft - Accordion Organ and Harmonium

Camille Norment - Glass Armonica

Per Gisle Galåen - Zither and Harmonium


More information can be found here.

4119 Hits

Thighpaulsandra, "The Golden Communion"

The Golden Communion cover art

September 2015 will see the release of Thighpaulsandra's 7th full length album The Golden Communion, his first since 2006's The Lepore Extrusion. Well over a decade in the making, this is his debut for Editions Mego. It comprises 10 new songs, running well over two hours with individual pieces clocking in between 4 and 28 minutes. Featured musicians on the album include regular collaborators Martin Schellard and Sion Orgon, plus the odd guest/ghost from bands Thighpaulsandra has worked with in the past.

If you have heard any of Thighpaulsandra's previous albums, you will know that you'd best approach this record with no fixed set of expectations, because once again he changes genres and defies easy classification, sometimes more than once within one song. Drawing on his long-time background as a key member in such diverse groups as Coil, Spiritualized and Julian Cope's  band (in each case arguably at the height of their creative prowess) and his work as producer and sound engineer for an even larger variety of customers, you'll find classical passages next to hard rock riffing, krauty experimental work-outs turning into super catchy, almost radio-friendly songs and more.

Many adjectives have been used to describe Thighpaulsandra’s work: epic, challenging, timeless, idiosyncratic, but certainly never predictable or boring.

Possibly his most rewarding album yet and a welcome and unusual entry, in the Mego catalogue, which will entertain and astonish listeners who are fond of having their mind severely altered by sound.

More information can be found here.

5354 Hits

Four Tet, "Morning/Evening"

Morning / Evening by Four Tet (Fourtet).  Vinyl LP, CD.

Produced by Kieran Hebden between August 2014 and February 2015

This music was created on a laptop computer using the Ableton Live software to control and mix VST synthesizers and manipulations of found audio recordings.

Slightly more information can be found here.

3693 Hits

Kara Lis-Coverdale & LXV, "Sirens"

Sirens by Kara Lis Coverdale and LXV.  Vinyl LP.

Sirens is the first collaborative LP of Kara-Lis Coverdale (Tim Hecker, L/B) and LXV (David Sutton). Following their respective solo cassette releases Aftertouches (2015) and Spectral Playmate (2014) on Sacred Phrases, Coverdale and LXV debut on Umor Rex with a collection of multi-textural and multi-source electronic music rich in narrative, melody, and spectral intrigue.

Inspired by the link between seduction and violence, Sirens comprises a series of timbrally vast anamorphic pieces that poise the voice as a newly imagined tool of multiplicity. Processes of sample manipulation, signal processing, routing, and source design inform instrumental writing and performance in feedback until intertwined, flickering between states of conflict and consonance. Apparitions of the schitzophrenic voice are at one moment fractured and cold and at the next full of warmth and vivaciousness, embodying velvet rituals of romanticism in the digital age.

Ultimately, Sirens is music for ambitious dreamers: surreal sound portraits sound like the warmth of the world laid over an ice cold virtual altar. LXV’s vocal truncations and fleshy sound palettes depict the archivation of the breath and aural fantasies of the flesh which Coverdale sets amongst a vast and unconfined landscape of deeper and unknown force. Harmonically active and dynamic orchestrations underpin post-sacred tonalities while brooding pipe organs, sphinx flutes, and hailstorms of metallic percussion characterize uniquely disjointed discussions between disparate compositional ontologies. At times violent and at others serenely peaceful and seductive, these pieces, at their most powerful moments illuminate a felt space between cybernetic energy and the body.

More information can be found here.

7427 Hits

Psychic Reality, "Chassis"

Chassis is the undercarriage, the skeletal core of a car. Any seasoned racecar driver knows the chassis gotta be true, intact. Psychic Reality (est. 2009 by Leyna Noel, formerly of Pocahaunted) grew up in the dirt of the pits, scrutinizing wrecks in all their Days of Thunder carnage. Here’s the track law: after a smash-up the body can always be replaced, but not the core. So you care for it. With everything you got.

In 2013 Psychic Reality’s own pile-up took her to Portmore, Jamaica. Kingston.Where, with friend and pit crew collaborator M. Geddes Gengras, she re-shaped. Hard.

…what about the leftover skid marks, the rubber-coated gravelly smear? They’re all aurally here. Revving in the interval following Vibrant New Age (Not Not Fun, 2011), Psychic Reality’s second full length record CHASSIS, makes tracks like when road ice melts under a hot engine, the path wet and revealing. The contrast between soft and hard dragging out the leftover grit.

Chassis is also the ribs of an electronic device, a bare circuit board. This particular board (with audile contributions by Damon Eliza Palermo (Magic Touch), Cameron Stallones (Sun Araw) and M. Geddes Gengras) makes ambient vocal tides. Each track as it appears on the record is ecosystemic, body electric in scope. But beneath the surface is another song, a tensile core for lung-power only that can be sung in a room. These are songs of distention, elongation. Bodies held at an intimate distance. Sonic spaces that stretch so far you fall into them. The structural two-ness gives the tracks their grind.

But does drift have chassis? Does halyconic L.A. (where the album was recorded) light? Can chassis be supple, spectral? No coincidence Psychic Reality’s been running her own Pilates studio in Brooklyn since 2011. Her core practice holds all contradiction as gift. To meet at the source: Liz Phair’s gutty Exile in Guyville, Sade’s Soldier of Love, dancehall do-overs plus spatterings of daily junk: emails texts iphone recordings detritus tissue feelings. CHASSIS is something like church, something like swimming, like spirit straining towards.

These are health jams. That the beats are muffled by a body makes them beats in the body. There’s genuine ganja here but the real heady clouds are palo santo. Voice is resinous. Smoke what you want, Psychic Reality's pitch is sticky, growing from the center-out like trees.

More information can be found here.

3682 Hits

Ken Camden, "Dream Memory"

Guitarist Ken Camden returns for his third solo album, continuing his explorations to seek out new techniques and sounds from the electric guitar. By utilizing both a steel slide and e-bow technique, Camden has moved into micro-tonal territory to bridge the textural gap between guitar and synthesizer while examining their inherent differences.

The palette is further broadened by introducing an organic vocal sampling machine described as a Vocaltron. Much like a Mellotron, vocal samples (contributed by Emily Elhaj and Angel Olsen) are chromatically organized in half steps from the lowest note to the highest possible. Each set is specific to the contributor's range and each note is unedited to keep all original characteristics of that particular individual's voice. This organized organic information adds a contrast to the electric guitar and synthesizer arrangements on the album.

The development of all of these systems gives Dream Memory a diversity throughout its tracks while maintaining an atmospheric bond that weaves the ideas into a thematic whole.

More information can be found here.

3525 Hits