Back catalogue: Post Rock/Experimental

Review: The 2020 send + receive festival in Winnipeg ignited a series of connections that culminated in an ambitious and unexpected collaboration. It was here that Mark Fell first experienced Will Guthrie's work, inspiring a future project. The festival also led to Fell's connection with Limpe Fuchs, whose music left a lasting impression. This connection flourished into a collaborative session in September 2022, when Fell and his son, Rian Treanor, visited Fuchs in her Peterskirchen home. Now, Black Truffle presents the results: Dessogia/Queetch/Fauch, an expansive triple LP with over two hours of innovative soundscapes. On the surface, Fuchsia veteran pianist, improviser and instrument makeriand Fellian electronic music producer known for reshaping club sounds into algorithmic experimentsiseem like unlikely partners. Yet, their shared love for percussion and their ability to "establish silence" reveals a deep commonality. Recorded in Fuchs' home studio, the album features a vast array of her unique instruments, from wooden parquetry and bamboo flutes to microtonal metal tubes and free-form vocals. Fell's contributions oscillate between stuttering, percussive digital pulses and textured, sliding tones, contrasting yet complementing Fuchs' organic sounds. From the shimmering tones of 'Dessogia I' to the metallic echoes in 'Fauch I' and the synthetic waves of 'Queetch III', each track offers a journey into uncharted sonic territory. An audacious blend of ancient and modern music.

Review: GNOD, the ever-evolving psychedelic noise-rock collective, returns with Inner Fucking Peace, a transformative collaboration with Portuguese vocalist MC Sissi. Known for constantly reinventing their sound, GNOD delivers an album that pushes new boundaries. Comprised of eight tracks for voice and electronics, this release merges experimental textures with Sissi's stream-of-consciousness Portuguese lyrics. The album showcases a broad sonic palette, from the minimalist tuned percussion of 'Stop' to the ominous electronics and crashing industrial drums on 'Get Out', reminiscent of GNOD's touring partners Harrga. Tracks like 'Tea & Eggs' delve into reggaeton-infused minimal synth, while 'Flute Theme' centers around chopped and screwed woodwind arrangements. MC Sissi's contributions, often improvised, bring an emotional depth to the album. Her irate vocals, mournful crooning and playful autotune add a new dimension to GNOD's industrial beats and spaced-out synths. With tracks ranging from hypnotic hand drum workouts to the gloom-laden 'Cannela Crematoria', Inner Fucking Peace marks another bold, unpredictable chapter in GNOD's extensive discography, leaving fans eager for what's next.

Review: US art rockers The Mars Volta's latest project reveals an ambitious dual-disc journey, encompassing their sprawling range of experimentation. Early tracks like 'Fin' and 'Reina tormenta' establish a dense atmosphere, full of the band's signature unpredictability, with fluid transitions between moments of stark aggression and delicate, jazz-inflected interludes. The album's progression is marked by tracks such as 'Mictlan' and 'Nefilbata', where intricate rhythms are paired with surreal, often dissonant melodies, evoking the mysticism and chaos of their thematic inspirations. As the second disc kicks off, 'Celaje' and 'Vocifero' provide a cinematic depth, layering intricate percussion with droning, otherworldly synths, shifting the mood into darker territories before 'Mito de los trece cielos' bursts through with frenzied energy. The reprise of 'Cue the Sun' and the closing track, 'Lucro sucio', bring the journey to a close, suggesting a moment of reflection within the album's labyrinthine structure. While the album's tracklist is as labyrinthine as their sound, what stands out is the way The Mars Volta remain resolutely themselvesieffortlessly blending their psychedelic rock heritage with new, complex influences, creating something fresh, while never losing the raw intensity that made their earlier work so iconic. This album feels less like a return and more like a rediscovery of what makes them so vital.

Review: After a 40-year hiatus since his last album, Kevin McCormick has returned to recording with this new album Passing Clouds which builds on his retrospective works Light Patterns and Sticklebacks, both of which were released in recent years through the Smiling C label. The artist's daily obsession with writing music and exploring sound reignited his inspiration and this album, he says, reflects his love of sky watching and peaceful places. Across several sessions, he used electric and acoustic guitars, bass and simple analogue equipment like valve reverb, tremolo and tape delay while a violin bow adds drones and ambient textures through a tape looper. The result is some superbly heartwarming Balearic sounds.

Review: Pierre Bujeau is the man behind the Megabasse alias and he crafts temporary escape zones through music that offer a break from the everyday. Whether performing with French groups Omerta and Tanz Mein Herz or solo, Megabasse creates a unique, rough-edged psychedelia armed with a double-neck guitar, cheap lager and Fender amps. He produces chiming patterns that blur the room's sound, transporting you to another world but his music isn't about wellness or self-improvement, but a communal, DIY dreamspace. This new release, previously available only on limited editions, features two intricate tracks and one shorter piece that show his shift towards burnt-out, beautiful guitar solos.

Review: Beginning life in the late 70s as a Leeds based art collective, The Mekons have gone on to become one of the longest-running, most prolific and sonically diverse acts to be considered part of the first wave of British punk. Spanning numerous decades, projects and literal continents, the sprawling array of visionary contributors return with the succinctly titled Horror; a work written towards the end of 2022 that showcases their expansive yet solely unique approach, drawing on elements of dub, country, harsh noise, rock & roll, electronica, punk, music hall, polka and even waltz. Myriad vocalists lead differing sonic journeys such as the Jon Langford-led 'Mudcrawlers' telling the story of the Irish famine and subsequent refugees traversing to Wales, whereas Rico Bell leads the charge on the harrowing folk-horror climate change breakdown 'Fallen Leaves', with swelling violins painting an aural tapestry akin to Rolling Thunder era Dylan sitting on a dimly lit rolling green hill accompanied by The Pogues. Ranking somewhere between the collective's 23rd to 25th album (depending on which member of the fanbase or artists themselves you ask), Horror marks their first work for Fire Records.

Review: This is a solo album in the true sense of the word. It's comprised solely of Ava Mendoza's raw virtuoso avant rock guitar playing and - on two tracks - her passionate voice. The Brooklyn-via-Oakland musician is also known for being a skilled collaborator, with the her band Unnatural Ways having earned a stellar reputation, but limiting the spotlight to herself alone here serves to elevate the searching, personal themes on the record. Mendoza's is famed for her virtuoso guitar technique, with lightning-quick tapping, use of feedback and tremolo up there with the best in the business. This is a melange of classical, free jazz, blues and noise, to name a few. With technique this strong, it's no wonder she's been setting the New York experimental scene alight over the past few years. And with The Circular Train - merely her second solo album - we can hope there's many more to come.

Review: French-British singer-songwriter and performance artist Lucy Sissy Miller opens Pre Country with noises that don't feel remotely close to country - more Imogen Heap than Patsy Cline. But as the record finds its gear, reference are changed through a moody and mysterious veil of latter-day Patti Smith and the oeuvre of Laurie Anderson. A meditation on Americana which recognises its folk roots but isn't afraid to embrace the high tech of today, either. Pieced together using journal notes, poems, voice memos, found and collected, manipulated and obscured sounds, it's a reflective and quiet, tender kind of place to find yourself - a record that asks for patience and rewards you with increasing immersion. "It'a an album about memories and how we stitch up these moments, making them movie-like to make sense of these experiences," says Miller. We'll leave it at that.

Review: ML Buch's new album pushes her experimental pop into new realms and ably builds on the expansive guitar work and catchy melodies introduced in her 2017 debut EP, 'Fleshy'. Her distinctive sound combines synthetic MIDI textures with heartfelt songwriting and ethereal vocals that evoke the fluidity of intimacy in a digital world. Through tender tracks like 'I'm A Girl You Can Hold IRL' and 'Can't Get Over You With You,' the artist takes listeners beneath the skin and explores a visceral, surreal world. Panoramic visuals captured via a pill camera mirror this exploration in a blend of technology and human emotion this is truly unique.

Review: Glasgow's seminal post-rockers enter new sonic terrain with their 11th album. Blessed for the first time in Mogwai history to have the fine pair of ears that is producer John Congleton in the studio, their single 'Fanzine Made Of Flesh', says the band's Stuart Braithwaite, is a "cross between ABBA, Swervedriver and Kraftwerk." It's certainly a long way from 'Mogwai Fear Satan' but that dense haze and ability to deftly layer sound that they do so well is audibly well intact. Elsewhere, 'Lion Rumpus' must have seen the band break a few snare skins. It's a phenomenally powerful performance with a sombre melody rooted in old folk music perhaps. The album's title, The Bad Fire, comes from a working class Glaswegian term for the word hell and according to a press release the album was born out of adversity so it's a fitting title. Sonically, however, it's a nuanced ride and there's a sense of resolve here offsetting the tension and melancholy and it feels truly heartfelt.

Review: Perhaps we shouldn't be surprised the latest from Glasgow post-rock pioneers Mogwai adds a new ferocity. It was, after all, forged at a time of personal loss and family trauma for several members. The opener, 'God Gets You Back', weaves hypnotic vintage synths with Autotuned vocals, building into a thrilling crescendo that sets the tone for the album's expansive soundscapes. 'Hi Chaos' begins with a folk-like delicacy, evolving into a storm of ebowed drones, thunderous drums and towering riffs, offset by swirling sci-fi synths. The interplay between restraint and eruption continues on 'Pale Vegan Hip Pain', where cavernous guitar notes bloom into intricate melodies, offering a moody respite before the intensity of tracks like 'If You Find This World Bad You Should See Some Of The Others', which brims with ominous tones and a symphony of layered guitar noise. Tracks like 'Hammer Room' bubble with intricate synth lines woven into soaring melodies, while '18 Volcanos' evokes shoegaze grandeur with its vibrant oscillations. Each piece thrives on emotional resonance, eschewing words for pure instrumental storytelling - very much the Mogwai way, in other words, just sharper and more vicious than ever.

Review: Mogwai's latest work drifts between turbulent intensity and serene expansiveness, striking a balance between their signature wall of sound and moments of fragile beauty. The opening track, with its deep, resonant bass and atmospheric electronics, sets the tone for what feels like an album of catharsisireflecting their emotional weight. 'God Gets You Back' brings a lighter, more melodic pulse before transitioning into the dense, layered textures that Mogwai excels at. There's a sense of nostalgia woven throughout, yet it's clear the band is pushing their sound forward, exploring new avenues within their established sonic landscape.

Review: Marking the Glasgow post-rockers' 11th release, this record comes alive through the skilled hands of producer John Congleton, renowned for his work with acts like Sigur Ros. Kicking off with 'God Gets You Back,' the track throws you into a chaotic soundscape that feels like Daft Punk being pursued by My Bloody Valentine. Meanwhile, 'Fanzine Made Of Flesh' and 'Lion Rumpus' play with contrasts, merging whimsy and heft. The Bad Fire encapsulates Mogwai's talent for weaving beauty into sonic intensity, ensuring their unique voice resonates as powerfully as ever.

Review: Moin's album Paste, released in 2022, built on the groundwork laid by their debut Moot! and took alternative rock in fresh, unconventional directions. The trioiJoe Andrews, Tom Halstead (of Raime) and percussionist Valentina Magalettii crafted an eclectic blend of sounds, mixing scuzzy guitars, live drums and abstract vocal samples. These monologues, pulled from spoken word compilations and other eclectic sources, added a layer of nostalgia and mystery throughout the album. Tracks like 'Hung Up' merged crystalline guitar tones with raw, anxious rhythms, while 'Forgetting Is Like Syrup' offered a dense, swirling mix of guitars and vocal fragments. Paste didn't settle into any one genre but instead explored the interplay between indie pop, grunge and minimalist influences, adding electronic elements to form a unique sound collage. Moin's ability to bridge diverse genres and ideas set Paste apart, establishing them as boundary-pushers in modern rock music.

Review: You Never End, the third album from Moin (Valentina Magaletti, Tom Halstead, and Joe Andrews), released via AD 93, marks a new chapter for the band. The album features vocal contributions from Olan Monk, james K, Coby Sey, and Sophia Al-Maria, each bringing their distinct, enigmatic voices into Moin's evolving sound. The collaborators add layers of allure and depth: james K's ethereal, reverb-heavy vocals, Coby Sey's rhythmic reflections of London's urban landscape, and Olan Monk's emotionally charged songwriting. Sophia Al-Maria's contributions reflect her multidisciplinary artistry, seamlessly blending into Moin's sonic universe while expanding its possibilities. Moin continues to challenge the conventional band structure, using a mix of traditional and innovative production techniques. You Never End subtly redefines the boundaries of grunge, shoegaze, and indie rock, imbuing them with a melancholic yet comforting tone. The vocal collaborations bring clarity and emotion, maintaining Moin's signature sound while enhancing it with electronic elements. The result is an album that feels both familiar and refreshingly new, resonating with textural richness and emotional depth.

Review: Moin's Moot! is an electrifying fusion of post-punk grit and experimental energy. The debut album from Joe Andrews and Tom Halstead of Raime, alongside drummer Valentina Magaletti, takes the intensity of their previous electronic work and channels it into a raw, guitar-driven sound. Drawing influences from 90s post-hardcore bands like Slint and Shellac, Moot! leans heavily on jagged riffs, dense basslines, and Magaletti's sharp percussion, offering an immersive, unpolished experience that feels immediate and alive. Tracks like 'Lungs' and 'Crappy Dreams Count' evoke the noisy, angular aesthetic of early 90s indie rock, with sharp guitar tones and pulsing rhythms, while 'I Can't Help But Melt' merges elements of rave and post-punk into a high-octane blend. Magaletti's live drumming injects the album with a vibrant, organic feel, setting it apart from the more electronic textures of their Raime material. The eerie vocal samples, such as those in 'Right Is Alright, Wrong Is to Belong'. add an unsettling layer to the album's already moody atmosphere, creating a haunting juxtaposition with the driving instrumentation. With its sharp shifts and unpredictable structure, Moot! doesn't rely on nostalgia but instead reimagines post-punk through a modern lens. It's an exhilarating ride that's both abrasive and thrilling, helping show that Moin as one of the more innovative acts to emerge from the post-punk revival.

Review: Argentine singer, songwriter, actress and psychedelic neo-folk high priestess Juana Molina may not be a familiar name to many in the West. But she's been putting out consistently fantastic records since the mid-1990s, debuting with Rara (not including the original score to the movie Juana y sus hermanas back in 1991) and is the sort of artist you don't forget once you discover. Allow Exhalo to open the door on this South American titan of folktronica, casting spells with a combination of lo-fi indie electronic, curveball pop, and progressive folk, with some influences also stemming from her upbringing as the daughter of tango legend Horacio Molina and actor Chunchuna VillafaNe. A deep and captivating listen that seduces you from the word go, this is one not to be missed if you can help it.

Review: Los Angeles-based Monde UFO - a shadowy collective helmed by multi-instrumentalist and producer Ray Monde - has a well-earned reputation for being one of music's more hard-to-pigeonhole acts, with their two previous albums variously mixing and matching elements of improvisational jazz, dream pop, Latin rhythms, space rock and lo-fi experimentalism. They're on a similarly breezy, blurred-at-the-edges tip on third album Flamingo Tower, attractively sashaying between jazz-flecked, string-laden dream pop ('Samba 9'), richly percussive post-punk jazz ('119', with its subtle nods to Tony Allen and Ginger Baker's infamous drum battle in support of Fela Kuti), cinematic noir-jazz (the effects-laden excellence of 'Solitaire') and much more besides.

Review: Homaging mutuality in a robust creative dialogue, More Eaze and Claire Rousay add another flash of brilliance to a mesmerising string of allegorical LPs. Both born in San Antonio, Texas, Rousay and Eaze (Mari Maurice) riff (literally) on strummed country and noise rock echoes, reflecting an uptick in electronica artists sound-repainting the lonesome grasslands and desert great plains of the mid Southern United States. Yet on No Floor, there is an ardent sci-fi leitmotif too, producing a techno-realist vision reminiscent of a Texan Death Stranding and/or Simon Stalenhag painting. From 'kinda tropical' to 'limelight, actually' we hear shortgrass droughts, short-wave police radio chatter, and the bootup zaps of a beaten up pocket survivo-droid, as it scans the semidesert we alone must brave.

Review: This collaborative LP is a beautiful and intimate work that draws on elements of Americana, experimental sound design and post-rock. The duo have a deep connection going back to their hometown of San Antonio, Texas and here create a unique sound with lush textures and emotional depth that, unlike their previous work, involved more found sounds. No Floor showcases their mastery of traditional composition and sound manipulation with tracks like 'Kinda Tropical' and 'The Applebees Outside Kalamazoo, Michigan' evoking nostalgia and the complexities of youth. All throughout this record, you can feel the duo's bond in its delicate, evolving soundscapes.

Review: Mount Kimbie's The Sunset Violent offers a deeply evocative, unsettling exploration of emotional dissonance. Opening with the single 'Dumb Guitar', the album vividly portrays a couple grappling with their fractured relationship amidst the beauty of a fictional Chinese beach resort. Andrea Balency-Bearn's serene vocals juxtapose against lyrics of personal turmoil, while buzzy synths, discordant pianos and overdriven guitars evoke an atmosphere of tension and heartbreak. Mount Kimbie, led by Dom Maker and Kai Campos, have expanded their lineup, adding Balency-Bearn and Marc Pell, crafting a post-punk sound with corroded guitars and skeletal drums. Their sonic evolution from their earlier work culminates here, drawing from influences like Sonic Youth and The Fall, while frequent collaborator King Krule contributes to the melancholic undercurrent. Recorded in California's surreal Yucca Valley and pressed on translucent petrol blue vinyl, this album mirrors the desolation and hope of the landscape. Tracks like 'Yukka Tree' and 'Fishbrain' dive into themes of isolation and disconnection, balancing dark tones with flashes of light. With The Sunset Violent, Mount Kimbie stretch their horizons, blending post-punk, dub, and indie influences into a compelling emotional journey.

Review: A new bedroom pop outfit, Mystery Time (Ayman Rostom aka. The Maghreban) paints a neatly outlaid sound-picture of quotidian lifestyles and humdrum joys, perhaps specifically those which are used to tape over the harder but more pronely repressible realities of grief and mourning. From the off of 'Thank You Deeply', we're told of "salad days in Archway" and being "on the phone in doorways", suggesting an attitude of listlessness and naivete as key to surviving the otherwise often excruciating experience of living in London. Its self-description as "maudlin" serves it just as well; the record wafts off a kind of haunted contradiction, describable only as the impossible mixture of post-punk and floral chintz, of wallpapering over the ability to feel fully and holistically with yet another lifestyle, pattern, habit, prescription. In Rostom's own words, "The title speaks for itself. Maudlin means emotionally sentimental. Tales, these songs are stories to me, about different times. Grief - there is much sadness and darkness in it, and Love - there is some light there too, a bit of joy, to frame the shadow." Rostom's vocals are just as listless and blinkered, tunnel-sung so as to express emotions through a drab medium.

Review: Deep Valley is a new collaborative work by Australian artists Seaworthy aka Cameron Webb and Matt Rosner and they came together for it during a week-long residency at Bundanon Art Museum in New South Wales. The property which was gifted to the Australian public by artists Arthur and Yvonne Boyd in the 1990s offers a unique landscape along the Shoalhaven River and is surrounded by sandstone cliffs and diverse wildlife. Drawing inspiration from Boyd's belief that "you can't own a landscape," Deep Valley combines the inspiration of that setting with environmental recordings, guitars, piano, and electronic processing all of which aim to highlight the transient nature of ecosystems and encourage you to reconnect with the sounds of nature.