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Tom Ellard (Severed Heads), "Rhine"

Rhine cover art

TL/DR - this is what I do for fun. Don't stress on it.

Six years ago I took stock of the vampires and creeps that populate the 'independent' music industry and figured that there was nothing there for me anymore. The whole thing could blow it out its copious arse.

Thing is, music industry isn't music, which I love and need and would still make if the last person on earth. So that wasn't going to stop.

When we closed shop it signalled a whole bunch of new people in my life. Unlike the last lot they seemed bright and caring and to be really into what we had done. It was great to have new family but after a while it dawned on me that we'd swapped our vampires for undertakers. These new guys throw a hell of a funeral! They like funerals so much they dig up the old bones over and over again.

I love these guys, but they get all anxious if you mention any year past 1980 something and, you know, I ain't dead yet. So I just did my music. The weird thing being that I started to get jealous of my old self.

Man, that guy got all the praise, the smug bastard.

Maybe I should have been working on some grand project that would throw music into the future but I like to listen to strange pop songs and so that's what I have made. For the longest time I didn't think they were worth sharing and then realised that was more pretentious than just putting them out here.

In a industry where every fool claims to be a genius all I am going to say is here's my new tunes. I have reworked them 1000x each and have to stop.

I also have to warn you I have had time to set up some puzzles and hidden things to find!

More information can be found here.

5060 Hits

Nathan Amundsen (Rivulets), "Western Songs"

Western Songs cover art

Western Songs marks the first time Nathan Amundson is releasing music under his own name. This record is his first for Silentes, and features two side-long late night instrumental guitar jams evoking the vast, arid landscape surrounding his home state of Colorado.

More information can be found here.

5490 Hits

Sir Richard Bishop, "Tangier Sessions"

Sir Richard Bishop: Tangier Sessions (DC618)

Rick Bishop picked up a new guitar in Switzerland, and by the time he got to Tangier, these songs fell out! Of the moment and in and out of time, the Tangier Sessions demonstrate how far a guitar can carry a man who knows how to ride one.

More information can be found here.

4491 Hits

"Punk 45: Extermination Nights in the Sixth City- Cleveland, Ohio"

Soul Jazz Records' new "Punk 45" album charts the rise of underground punk in the midwest city of Cleveland, Ohio, which for many people is the true birthplace of punk music in the mid-1970s.

Featuring a fantastic collection of punk 45 singles from Cleveland groups including Pere Ubu, Electric Eels, The Pagans, Rockets From The Tomb, Mirrors, X–X and more.

The album comes complete with extensive text written by Jon Savage as well as exclusive photos and original record artwork. CD comes with large booklet and thick slipcase. Vinyl edition is on deluxe gatefold double-vinyl complete with with free download code.

The album follows on from Soul Jazz Records' earlier Punk 45 albums about USA and British punk (Kill The Hippies! Kill Yourself! and There Is No Such Thing As Society), pre-punk (Sick On You! One Way Spit!) as well as the deluxe cover art book Punk 45.

Extermination Nights in the Sixth City coincides with the release of as a second album about Ohio’s early punk scene, Burn, Rubber City, Burn! – featuring the music scene of nearby Akron.

More information can be found here.

5225 Hits

Kreng, "The Summoner"

The Summoner

The Summoner comes 4 years since the last Kreng album Grimoire and 3 years since the massive retrospective box set Works for Abattoir Férme 2007-2011. A lot has happened in between, and this new recording can be seen as quite the departure from the aforementioned.

His most personal album to date, The Summoner is based around the 5 stages of mourning and is made after a year of losing several close friends. Hard enough material to work on, he decided to add a 6th stage, entitled "The Summoning" to be able to arrive at the finalé, "Acceptance."

Conjuring up the spirit of György Ligeti, the first half of the album is made up entirely of 12 string players being directed to play around, make noisy clusters and crescendos, moving you between "Denial," "Anger," "Bargaining" and "Depression."  In fact, The Summoner is the first Kreng album NOT made by hordes of samples. Music to really dig deep into.

Following into the second part of the album, twists and turns are taken and it's hard to know where exactly you are. The Summoning's haunting organs and smoke-filled chambers lead you in to an earth- shaking wall of guitars, drums and bass courtesy of Belgian doom band Amenra. Leaving you in a state of shock, the album closes in an incredibly heartfelt and quiet way with the fittingly named "Acceptance."

More information can be found here.

5047 Hits

Laika, "Silver Apples of the Moon" LP reissue

Medical Records continues its exploration of the '90s with a reissue of Laika's 1994 masterpiece Silver Apples Of The Moon, originally released on the iconic Too Pure label.

The members of Laika hailed from various interesting places: Margaret Fiedler was actually born in Chicago, but relocated to London to pursue musical interests and was one of the vocalists and songwriters for Moonshake (also on Too Pure), as well as a previous member of Ultra Vivid Scene.  Guy Fixsen was (and still is to this very day), a renowned audio engineer and producer.  In fact, he was involved in the infamous production of My Bloody Valentine's Loveless.  Bass player John Frenett was also in Moonshake and left that band the same time as Fiedler after their first USA tour.  The drummer, Lou Ciccotelli, previously played in Kevin Martin's band God.  The band also had a saxophonist, Louise Elliot.

Silver Apples Of The Moon was Laika’s first album and is almost unclassifiable.  Taking a very forward-thinking approach, the sound is the result of a very unique equation of live drums/percussion, layered guitars/samples, and diverse analog tones that all fuse together to form a hypnotic polyrhythmic combination that was truly original.  Too Pure was known for its cutting edge roster including Seefeel, Mouse On Mars, and Pram.  Laika was certainly no exception to these game-changing artists.

The opening track "Sugar Daddy" explodes from the first note into a percussive frenzy that is quite dizzying before it smolders a bit and is layered with various samples that propel the track. "Coming Down Glass" exudes a more mutated trip-hop form with thick, powerful bass lines. Other stand-out tracks include the intense "Red River" and the harder track "44 Robbers."  While it is exceedingly difficult to draw any similarities for this album with other artists, one can make loose associations with some of the most challenging percussive experiments of Miles Davis, the brilliant exotica of Martin Denny, and the gut-churning bass magic created by Jah Wobble in early PIL.

Fans of the crucial and long-lasting mark left by the Too Pure artists such as Pram and the like will definitely want this album if they have never heard it.  For most fans, the original vinyl LP was not available or accessible (especially in the USA).  The masters for which this reissue is sourced were directly transferred from the vinyl master source material (courtesy of Beggars Limited) with the utmost care and quality.  The LP jacket features similar original artwork and the LP contains a bonus insert with an engaging interview and write-up by Dave Segal featuring exclusive interviews with Guy Fixsen and Margaret Fiedler.

More information can be found here.


5628 Hits

Boduf Songs, "Stench of Exist"

England / Ohio's Mat Sweet presents his latest album under the Boduf Songs moniker via The Flenser!

Stench of Exist is at once his most accessible and most esoteric work to date; from the opium flow of the tracks, running headily into one another like tributaries to river, to the muted-industrial-electronic-effected drums underscoring the spiraling melodies and fluttering drones, to the clean and rich guitar, abstracted cycles and feedback walls, its whispered doom metal masquerades as a lullaby.

Stench of Exist unfolds languorously, laced with mysterious electronic filigree. Gorgeously intimate, it transforms the minimal into maximal with layers of electro-detritus wreathed in lush guitar strums, street-side field recordings, reverberating pianos and softly crooned vocals. It is a record of rain and cities and nighttime. The collision of arabesque tonalities with electronic sound and ambience brings to mind the promise of Blade Runner—half-asleep at 4:00 A.M. and slightly medicated, with pyramids and flame-spewing cityscapes in downpour glowing against the fluttering eyelids in the almost-dreaming consciousness. A record for saturnine commuters, on headphones, after sunset.

Coming February 2015.

More information can be found here.

Image of Boduf Songs

4440 Hits

Kevin Drumm, "Everything's Going along as Usual and Then All Shit Breaks Loose." 2xCDR

Recorded Nov/Dec 2014.

Title lifted from the Joan Didion book The Year of Magical Thinking. Thanks Joan.

Samples and more information are available here.

2014 Everything's Going along as Usual and Then All Shit Breaks Loose. cover art

5049 Hits

Lost Trail, "One Day We'll All Walk Outside And Stare Up At The Blameless Sky..."

"...And Wait For Something to Happen"

A dark, dark journey of spirits and alchemy conjured in the supernaturally hot, still spring of 2014 in Burlington, North Carolina, that haunted black X on the map buried deep in the Alamance foothills. These are the wailings of phantoms trapped beneath the floorboards and between the walls of our murky and crumbling 1910 home, buried on sleeping side-streets within a moment's reach of swarming, grasping woods. These are the sheets of rain swept in the doorway, the static churning of a possessed shortwave radio, the spitting demons of electricity and malfunction and broken, obsolete machines slowly giving way to organic sounds, light, an upward journey out of the very hands of night's oblivion and into more luminous, radiant decay. Here lies collapse, entropy, and rebirth.

More information can be found here and here.

One Day We'll All Walk Outside And Stare Up At The Blameless Sky And Wait For Something To Happen cover art

4695 Hits

Plastic Palace People, "From the Host of Late-Comers" LP

Plastic Palace People: From the Host of Late-Comers (ST1035)

The latest sonic throw-down between Jim O'Rourke and Christoph Heemann; a state where it's almost impossible to determine who is responsible for what. The plastic people have melted together, that's why!

(Slightly) more information can be found here.


4894 Hits

Heather Leigh, "Nightingale" LP

 photo 8e94fed9-c214-4f77-8f1d-a0f2d529a0f0_zps7bbd50c3.jpg

After intense one-on-one dialogue with Heather Leigh on the label's renewed remit to present beautiful records that showcase all styles of "guitar" in all their extremities, Golden Lab is delighted to deliver to you what is, no question, an absolutely blinding example of just such a record.

A recording that captures Heather Leigh direct to cassette – one of those performances where the pedal steel was raging so hard that the vocals never had the opportunity to even make an appearance. Recorded in glorious mono and mastered to really bring out the harshness of those insane tones, the capturing of this performance to cassette gives the pedal steel an almost tape-like quality itself and its transfer to vinyl only warms it up further into a new zone of somehow cosy metallicism. This is an absolute joy – a real tear-yr-face-off record that sort of acts as a companion piece to HL's recent work w/ Stefan Jaworzyn in Annihilating Light. This won't stick around long.

More information can be found here.

4489 Hits

Jasmine Guffond, "Yellow Bell"


Jasmine Guffond is an original creator of conceptual sound. This first output under her own name is its own study, and if you've heard her former projects Jasmina Maschina or Minit, you should not be surprised at the different driving force and fresh structure of sound behind this new venture. However, if you're anticipating veins of clean, melodious folk or purely experimental electronic, you should shift your expectations.

Yellow Bell presents a broad spectrum of musicality, floating within hazy electronics, lost vocals, and ambient dimensions. The balance of digital synthesizer, loops, processed voice, and guitar creates a meticulous soundscape that both intrigues and calms. With its delicacy and immediacy, Yellow Bell distorts the perception of time and creates an environment for engagement and understanding.

While creating its own memorable dynamic, Yellow Bell resonates with the delayed endlessness of Grouper or lovesliescrushing and touches on the early electronic sounds of Musique concrète.

More information can be found here.

4330 Hits

Charlemagne Palestine + Rhys Chatham, "Youuu + Mee = Weee"

166 minutes with

Charlemagne Palestine: piano Bösendorfer, orgue Yamaha and voice

Rhys Chatham: trumpet, loop pedal, electric guitar.

This is the first recorded collaboration between Charlemagne Palestine and Rhys Chatham. And it's precious. After the musical meetings with Tony Conrad (SR204) and Z'ev (SR340), these new Sub Rosa sessions create a form of trilogy.

More information can be found here.

4775 Hits

Jefre Cantu-Ledesma, "A Year With 13 Moons"

A master of romantic abstraction, Jefre Cantu–Ledesma is not new to the scene. In fact, he's been releasing a steady stream of music for nearly twenty years. With the brilliant album A Year With 13 Moons, however, the ever–prolific Ledesma appears to be hitting a new high. Or low, depending on how you like to see things. More on that later. First, some background.

Born & raised in Texas, Ledesma's formative artistic years were spent studying painting & sculpture in San Francisco. He began playing & releasing music in 1996 and has developed a steady relationship as a collaborator – he's released notable collaborations with Liz Harris (aka Grouper) as Raum, with Alexis Georgopoulos in his Arp project and with their ensemble The Alps, as well as filmmaker Paul Clipson. Ledesma also founded the influential label, Root Strata, who have released music by Oneohtrix Point Never, Keith Fullerton Whitman, and Grouper, and continue to release new and archival works.

A Year With 13 Moons, a nod to a Rainer Werner Fassbinder film, was recorded at the Headlands Center for the Arts, just across the Golden Gate Bridge from San Francisco – where he and Clipson were artist in residence. It was a time of major transition. As he describes it, "the time at the Headlands was a real gift – of space, time and being cared for. This allowed me to create music in a way I never had before, on a day–in, day–out basis for hours on end. I stopped caring about end results and fell in love with the process. I learned how to let the music create itself in a way, to lead me rather than trying to force it down a path. I would start each session with a simple rhythm, or sound or a guitar riff & see where that led – it was cathartic, freeing and ultimately really transformed my approach to music making. In the end I was left with literally hours & hours of recordings. A Year With 13 Moons was culled from these and formed while traveling the week after I left the residence."

Using a friend’s reel-to-reel tape player, Cantu employed electric guitar, modular synthesizer, drum machine and concrète sounds from his surroundings at the Headlands, recorded while walking to the studio, cooking in the kitchen, talking with friends, the ocean, films he was watching, driving in a car. Everything was record stereo to tape. There is only one track with overdubs – otherwise each take is a true document of an entirely live take.

The result is gorgeous, haunting and sprawling. A companion to his last full-length LP, Love is A Stream, (Type, 2010), 13 Moons is a dense, swirling mass. A bookend to the end of a relationship. To say 13 Moons is comprised of "songs" might not be entirely accurate. They're closer to transmissions from a satellite of love. Opener "The last time I saw your face" sets the tone. A bittersweet goodbye letter that unites guitars and modular synthesizer to widescreen ends over the course of its 8 and half minutes. It works dramatically well as an opening statement, and also as a summary of what he's been doing in recent years. Second track, "In and Out of Love,” on the other hand, seems to represents where Cantu might be going.

Cantu was interested in ways of "conveying memory in music without being sentimental – somehow translating the fog of images, people and places that (he'd) experienced in the last two years into a body of work that could still be ambiguous & leave space for the listener to enter." As such, 13 Moons succeeds. Incisive editing allows hypnotic guitar and drum performances to be interrupted by Modular synth squalls and otherworldly textures –– combining overdriven guitars, avant-garde composition (a la Xenakis) with the informal approach of underground tape weirdos (like Robert Turman, K. Leimer) into a lovely brocade of harmony and dissonance.

Tracks like "Shadows," "Early Autumn" and "The Isar" bring these avant-gardisms to the fore, conjuring early experiments in industrial sound. "A portrait of you at Nico’s grave, Grunewald, Berlin (For B.K.)" might represent the album's loneliest moment, the air moving in hovering cloud formations. It would be perfect to soundtrack a Werner Herzog film. "Body of Moonlight" allows hope, a disappearing presence in the latter stages of 13 Moons, to resurface. It's a feeling Ledesma is very good at. That sense of something very intense at hand, and that fracturing sense of looking down at yourself. It's a feeling nearly impossible to describe. Then again, if words can't convey something, sometimes sound is better.

More information can be found here.


4804 Hits

Simon Crab (ex-Bourbonese Qualk), "After America"

After America is the first solo album by Simon Crab - most well-known as the founder and front-man of the group Bourbonese Qualk (1979-2003). The album contains 20 new tracks recorded from 2010-2014 at various locations in the UK and featuring contributions from Geoff Leigh (Henry Cow, ExWiseHeads) and Dave Smith (Guapo).

"An audio tapestry, After America is a tonal epic poem of moods and texture that narrates an intense emotional journey. Instrumental melodies from horn, wind, drum kits, acoustic and electric guitar and even Gamelan percussive arrangements verge on orchestral as they relate tumultuous tales and respite in oasis' of calm. At moments, the instrumentals are pierced by Industrial-strength synths and machine drums; other moments are cocooned in shimmering electronics that echo Basic Channel at their most sublime; and still others are haunted by misty ambientdrone. Instrumental bard, Simon Crab seamlessly blends otherwise disparate textures into a cohesive narrative while dragging the music (and listener) through a "hall of mirrors" that flirt with psychedelics. Rather than push his sounds through exaggerations, Crab accentuates and emphasizes using real-time audio synthesis, Supercollider, to instill a distinctly 'other' quality. What might have passed as improvised, minimal folk, or traditional/ethno/post­jazz is actually a kind of 'cyborg­music,' a surprisingly harmonious blend of natural and synthetic. After America heralds the end of a colonial Empire that flails in a Brave New World where ideas and change fire across the globe and the speed of thought. In the way that a masterfully woven tapestry depicts tales, so too does After America, taking you on an Odyssey with each listen.

Simon Crab has been a music maker since the late '70s, where he founded Bourbonese Qualk, as well as Sunseaster, an experimental/improvised­/electro­acoustic noise project. Crab also learned traditional African and Middle Eastern music and is a member of London's Gamelan orchestra."

-Ibrahim Khider, Toronto, 2014

More information can be found here and here.

4752 Hits

Noveller, "Fantastic Planet"

Fantastic Planet is the soaring, evocative new album from Noveller, the solo instrumental venture of Austin-based composer and filmmaker Sarah Lipstate. The LP is a journey through eclectic sonic terrain, blending rich waves of synth with soaring cinematic guitar lines, guiding the listener through Noveller's most diverse and compelling release to date.

Originally self-defined as an electric guitar project, Lipstate began recording under the name Noveller (pronounced "know-veller") in 2005 whilst living and studying in Texas. She uprooted to Brooklyn and subsequently made waves on New York's live scene and internationally, sharing the stage with the likes of Six Organs of Admittance, St. Vincent, Xiu Xiu, the Jesus Lizard, U.S. Girls, Aidan Baker and Emeralds, whilst capturing the attention of NPR, The Village Voice, Time Out New York and The Wall Street Journal.

Noveller's prolific output has seen her release albums via No Fun Productions and her own imprint, Saffron Recordings, including the Desert Fires LP and the critically acclaimed Glacial Glow. She also released a split LP with unFact (David Wm. Sims of the Jesus Lizard) and has collaborated with several renowned musicians, including live improvised duo performances with Carla Bozulich (Evangelista, The Geraldine Fibbers), Lee Ranaldo (Sonic Youth), and JG Thirlwell (Foetus, Manorexia). She has previously performed as a member of Cold Cave, Parts & Labor, and One Umbrella.

Upon returning to Texas, Lipstate developed her signature cinematic soundscapes further, and it was here she completed her spectacular new release Fantastic Planet. It is an album largely steeped in place, both real and fantastical, and influenced by Lipstate's various interchanges and relocations, physical and emotional.

Noveller takes the elements of rhythm and synth textures introduced in her previous album No Dreams and expands them to a new level of prominence through her guitar work on Fantastic Planet. From the dark beat propelling "Pulse Point" to the distorted synth on post-punk track "Rubicon," Lipstate pushes her sound in new directions that complement and elevate her intoxicating filmic soundscapes.

More information can be found here.

"Some artists traverse boundaries. Sarah Lipstate's work seems to come from a world where they never existed. Her color-rich visual art has a mournful literary quality to it; her short films trigger collisions of emotional crosscurrents; and her instrumental music, which she makes under the name Noveller (emphasis on the middle syllable), seems to call to attention all senses at once, to the point where even the word music seems somehow limiting." - Time Out NY

"...simultaneously soothing and mind-wrecking noise, along with a compositional depth that most loud-for-the-hell-of-it guitar droners never reach." - NY Press

"...hypnotic, rich-textured electric guitar works." - New York Times

"Sarah Lipstate creates miniature musical worlds, places that you feel like you'll never leave long as the record is playing." - Pitchfork

4338 Hits

James Blackshaw, "Summoning Suns"

Summoning Suns is James Blackshaw's tenth studio album and the first recording to feature his voice and lyrics. Drawing inspiration from '60s and '70s singer-songwriters, baroque/orchestral pop and folk music, while still sounding contemporary, Summoning Suns is Blackshaw's foray into more traditional forms of songcraft.

Blackshaw sings in a gentle but assured voice  while his words combine his personal experiences, neuroses and fantasy through many layers of abstraction, poeticism and dark humour.

While the deft fingerpicking acoustic guitar style of Blackshaw's previous recordings is still a prominent part of the sound, the songs are lushly and intricately arranged for drums, bass, piano, violin, flute and pedal steel guitar and features contributions from Simon Scott (Slowdive), Annie Nilsson and Japanese musicians Mori Wa Ikiteiru and Kaoru Noda (with whom he duets in Japanese on one song).

Summoning Suns will be released in the US on Important Records on February 17th.  More information can currently be found here.


6016 Hits

Sean McCann, "Ten Impressions for Piano and Strings"

Realized over a four-year period, Sean McCann's Ten Impressions for Piano & Strings is a document of transition and maturation. Slow-moving cloud forms over corporeal landscapes, these impressions whisper of McCann's imminent & decisive lean towards classical & avant-garde musics, culminating in 2013's Music for Private Ensemble on his own imprint, Recital. Less a final statement on ambient music, more a meditation on change, discovery and process.

More information can be found here.

Ten Impressions for Piano & Strings by Sean McCann.  Vinyl LP.

5086 Hits

Jan St. Werner, "Miscontinuum Album"

Miscontinuum Album documents an impressive new work by seminal electronic musician Jan St. Werner, whose innovations with Mouse on Mars and Microstoria are well-documented. Over a period of approximately four years, Miscontinuum has been developed and refined as an operatic live performance in Munich, as well as a radio play. This recorded incarnation of the work is the third entry in Werner's lauded Fiepblatter series, and features contributions by Dylan Carlson (Earth), Markus Popp (Oval), Kathy Alberici, and Taigen Kawabe (Bo Ningen). It is a challenging listen not compromised for casual music consumption habits, but with time and close listening, it yields vast rewards. Miscontinuum Album is a radical convergence of sound exploration and storytelling that has few precedents.

The central concept of Miscontinuum explores misconceptions of time and memory, inspired by unique acoustic phenomena derived digital phasing and musical time-stretching techniques. There is an aura of doom that pervades the work. Much of the album's evocative nature comes from the interplay of Werner's electronics with Alberici and Kawabe's voices and the contrast between those organic and inorganic elements. Popp, a longtime collaborator with Werner in Microstoria, wrote the libretti, which is presented in five distinct scenes and recited redolently by Carlson. The surreal plot involves a progressive distinction of time as a force rather than a structuring system, and an individual who can shift consciously between states within that force. The high concepts and unusual creative partners combine for an album that is uncommonly emotionally resonant.

Miscontinuum was first performed as a part of Werner's Asymmetric Studio series in Munich on June 18th, 2013, and also featured video by Werner and Karl Kliem and stage design by Christina del Yelmo & Sonia Gomez Villar. It was broadcast by Bayerischer Rundfunk public radio ten days later. The striking visual elements, flowing dresses and impressionistic masses of color, make appearances on the album's art, and will be presented in new forms in the coming months. The first revised version of the Miscontinuum, featuring live video by Zoya Bassi, will premiere at the St Luke's Church in London on Feb 8th 2015 and is the first in a series of more shows to come in 2015.

More information can be found here.

Miscontinuum Album (Fiepblatter Catalogue #3) by Jan St. Werner.  Vinyl Double LP, CD.


4360 Hits

Sarah Davachi, "Barons Court"

Barons Court is the debut full-length album by Canadian electroacoustic composer Sarah Davachi, following short-run releases on Important Records' Cassauna imprint and Full Spectrum.

Trained at Mills College, Davachi's work marries an academic approach to synthesis and live instrumentation with a preternatural attunement to timbre, pacing, and atmosphere. While the record employs a number of vintage and legendary synthesizers, including Buchla's 200 and Music Easel, an EMS Synthi, and Sequential Circuit's Prophet 5, Davachi's approach to her craft here is much more in line with the longform textural minimalism of Eliane Radigue than it is with the hyper-dense modular pyrotechnics of the majority of her synthesist contemporaries.

Three of the album's five compositions feature acoustic instrumentation (cello, flue, harmonium, oboe, and viola, played by Davachi and others) which is situated alongside a battery of keyboards and synths and emphasizes the composerly aspect of her work. "Heliotrope" slowly billows into being with a low, keeling drone that is gradually married to an assortment of sympathetic, aurally complex sounds to yield a rich fantasia of beat frequencies and overtones. Later, "Wood Green" opens almost inaudibly, with lovely eddies of subtly modulating synth clouds evolving effortlessly into something much larger, as comforting and familiar as it is expansive. In an era in which the synthesizer inarguably dominates the topography of experimental music, Davachi's work stands alone - distinctive, patient, and beautiful.

More information can be found here.


4030 Hits