Review: The partnership of Kassem Mosse and Beatrice Dillon; Dillon Wendel is a place for the two respected artists to explore soundscapes, aesthetics and synthesis in pastures aeons away from the dancefloors they're most familiar with. Both compositions weighing in over 15 minutes, they're experiences which challenge form and convention; "Pulse" ripples with its namesake, a texture that buzzes and drones in endless waves while "High" mutates a warmer, grainer tone with dizzying effect.
Review: Marking the start of an exciting new collaborative project, Wolf + Lamb proudly share the debut release of The Waves & Us. Formed out of
a creative meeting of minds between Maayan Nidam, Markus Nikolaus and Louis McGuire, theirs is a sound that strengthens the storied
approach of a live band with the experimental thrust of analogue electronics. Pop and rock fundamentals lend an earthly hook to the
tracks, but these are anything but straight-forward songs.
Maayan has already forged a formidable career in electronic music, both under her own name and as part of Mara Trax, scoring releases
on such celebrated labels as Perlon. Markus performs his own solo project Cunt Cunt Chanel, while Louis is part of Ballet School, a band
releasing on noted indie label Bella Union. The whirlwind of creativity that has whipped up around the trio has yielded an album which will
follow this single, made up of one-take recordings that capture the energy and adventure that powers The Waves & Us.
Maayan's electronics provide the atmospheric backdrop to the songs, running modular synthesisers and drum machines through detailed
chains of processing and effects with an emphasis on a warm, charmingly rough finish. Markus' guitar undergoes a similar fuzzy treatment
while his voice calls out introspective, abstract lyrics to set the mind racing. Louis' bass underpins the music with a dubby sensibility,
bringing a necessary balance to the frequency range.
Making the most of their in-the-room recording approach, the singles will feature alternative takes of the songs that will appear on the
album, providing a little insight into the flutters and fluctuations that shape the development of this project. With their eyes fixed on live
performances and an arresting sound already formed, this is a vital time for all three artists and the people that listen to them.
Review: Typically, General Elektro isn't giving much away about the identity of the producers behind "new collaboration" Westend, or their aims for the project for that matter. Musically, it's a quietly impressive debut that features a sextet of tracks mostly built around gently undulating synthesizer arpeggio lines and moody electronics. Many of the tracks are stripped-back, hypnotic and beat-less, deriving their power from the relentless thrust of the arpeggio lines that ripple across the sound space. Others, meanwhile, include ghostly electro drums or, in the case of the bombastic "Track 4", the kind of no-nonsense, kick-drum-driven beats that were once a feature of the greatest Electronic Body Music releases.
Review: Valcrond Video presents the next work by sound and image artist Luke Wyatt, Songs From Bad Kid School.
On a high desert plain, inside a cinder block compound, a prank squad is incarcerated. Between fiddling with ninja stars and leafing through back issues of Fangoria, they find time to scrape out the soundtrack of their escape.
On the first track, heatsick guitars and steel wool beats suggest a landscape strewn with abandoned car carcasses, old Camaros left for dead in the sun, used for shotgun practice.
The B-side leads off with the beat-less, articulated sprawl of "Saline Flats". Here is the story of a desert search for water: figures warping mirage-like on the horizon as they make a confused journey over dunes, ending with a cathartic drone that suggests the mirages resolving into a real oasis. Though it is just as likely that the bad kids have expired from thirst, and ascended to the sublime.
Review: German trio Wareika are a supergroup of sorts, comprised of Hamburg hero Jakob Seidensticker, FormResonance's Florian Schirmacher (Berlin) and Henrik Raabe. Following up some impressive releases on Amphia and Visionquest (a label they have fast become stalwarts of), they now present their fifth full length for the always impressive Mule Musiq. Apparently it all started with an unplanned, four hour jam session between Raab and Schirmacher - gaming and messing around on the piano, guitar and drum computer. Later, they edited it down to a one-hour session, adding some congas and synthlines until Seidensticker mixed it all down. Starting out on the first disc with the evocative 15 minute long epic "Water" and the almost Sueno Latino sounding drifter "Sky", you definitely can tell they're all snapshots with a very particular moment. However, it was the second disc's final cut entitled "Wood" which really had us transcending - this deep tribal raindance is simply superb!
Review: It's hard to source info on the mysterious Teresa Winter but photos of her performing live seem to suggest she does actually exist. With previous releases on cassette imprints such as Reckno and Cacao, she's now presenting to you Untitled Death, for the always curious Death Of Rave imprint out of Manchester. A series of psychedelic/lo-fi soundscape experiments that span the ethereal to the semi-abrasive: this is certainly one of the more interesting ambient albums we have heard in awhile. On tracks such as "Pain Outside" or "Anatomie De Lenfer" her faintly whispering voice adds another haunting yet seductive layer to these hypnotic and immersive journeys.
Review: A multi-faceted composer, musician and producer with a reputation for adaptability, Erik Wollo is arguably best known within electronic music circles for his distinctively fluid, personal and emotional take on ambient music. There's plenty of examples of this kind of work on "Sources", a set that draws together mostly unreleased tracks recorded during the formative years of his career in the mid-to-late 1980s. It includes a number of sublime, spellbinding cuts, including the Terry Riley meets Tangerine Dream synthesizer hypnotism of "Swamp Land", the deep space electronics and intricate melodies of "Under Water", the Robert Aiki Aubrey Lowe style exoticism of "The Movie" and the shuffling positivity of "Big Sky", a gently rhythmic piece just tailor made for sound tracking summer sunrises.