Back catalogue: Post Rock/Experimental

Review: So what happens when a European post-punk outfit meets an American 'ambient country ensemble'? The answer: A Nanocluster. In fact, three. This being the third. Immersion first met SUSS in September 2021, and the results were mesmerising. Three years on and the impact was no less staggering. Originally landing in September 2024, part tres takes us into the kind of musical places we're used to finding Spiritualized or Mogwai, and even then the references are misleading. For as many times as Nanocluster Vol. 3 sucks us into a thick soup of ambient and atmosphere, inviting us to get lost in opiate cloud formations, it also asks us to jump on board a stream train of rolling and driving rhythms, juggernauts gathering depth and complexity as they forge ahead. A stunning collection of highly evocative and incredible musical instrumentals.

Review: The words 'DJ Sotofett Remakes' is like catnip to lovers of obscure electric sounds. And here is the Allchival label with no fewer than six of them as the left-of-centre maestro adds his take to originals by Stano. His club mix of 'Room' is all spaced out and cosmic, then goes super slow and psychedelic with his snaking bass sounds on an Overdubble mix of 'Emma Wild & Whale' before Seance Of A Kondalike" (DJ Sotofett Newseance mix) picks up the pace but remains utterly psyched-out and intoxicating. There is still time for snaking dub techno and warped electronics on the remaining three sides.

Review: Transporting us to a waking dream of Los Angeles, two enigmatic music makers from the City of (Fallen) Angels present a truly stunning journey into hazy half-memories, afternoon fantasies, borrowed recollections and thoughts of things yet to happen. In many ways, Salt & Sugar Look The Same feels incomplete; tracks, half-tracks, movements, bits and pieces feel like our minds often work. Was that what we think it was? Did this happen? According to the official release burb, these 18 brief but beautiful compositions combine finger-plucked guitar work, the lens flare of electronica, and warped samples to create a take on the American primitivism music movement. The result is something that transcends boundaries of sound, time and place, and exists in a world of its own creation.

Review: Turin's reputation as an enclave of Italian alternative music and culture is well known. Southern Europe's Motor City has the stunning piazzas and palazzos we want from its country, but also the huge industrial areas, many now in decline or waiting to be redeveloped, that catalyse so much in electronic and industrial music. Meanwhile, a few miles beyond town we find spectacular countryside, national parks, mountain ranges, and inspiration for deep ambient. SabaSaba were born from and into this, and the duo have established themselves as one of the region's foremost purveyors of unusual tunes. Unknown City is a like a blueprint for what a contemporary horror score could be, whether that's the slow release of the John Carpenter-esque 'Night Plotters', haunting chants and shimmers of 'Wrists Free', eerie atmospheres of 'False Speech', or anything in between.

Review: Sightless Pit is Lee Buford (aka The Body) and Dylan Walker (aka Full of Hell). The creative pair's debut album Grave of A Dog put them right up there with the best bands in the heavy metal scene. They now follow it up with another album that redefined heavy guitar sounds. Lockstep Bloodwar is an eclectic one sound wise and it features some big names making guts appearances such as Gangsta Boo from Three 6 Mafia, YoshimiO from Boredoms, plus Midwife, Lane Shii Otayonii and more. This version comes on limited translucent red marbled vinyl for a look as freaky as the music sounds.

Review: Sigur Ros' fifth full-length LP (originally released in 2008) gets reissued by Piccadily Records this week, after having remained completely out of print worldwide for far too long. This 2xLP of post-modern ethereal folk is noted for being the band's first to be recorded, completed and toured all in the space of just one year - they had formerly toiled for years over their previous albums. It might also just be the best LP to highlight the band's 'realness'; the lyrics were originally meant to be in English, but they later returned to their own native Icelandic for a more authentic feel.

Review: The year is 1999 and while the sounds of Ibiza lounge house and blistering trance dominate much of the radio waves, elsewhere in Europe something very special is taking form. At this point in time, Sigur Ros had only put out one album, Vonn, in 1997, and followers who joined more recently, when the Icelandic oddities broke into major TV advertising campaigns and movie scores, but haven't looked back at their origins, might be surprised at what that one sounded like. Altogether darker, much more cacophonous.


Aegis Byrjun would follow the groundbreaking but largely unsung debut (Vonn only sold 300 copies in their own country) with a groundbreaking moment that set a precedent for everything they have done since. This is where big brands like Nissan pricked up ears, mesmerised by a sound that's at once alien, yet also deeply human, huge but intimate, classical yet contemporary, and fundamentally focused on triggering emotions.

Review: Icelandic trio Sigur Ros havent released a new album in a decade but now, following their signing with BMG, they finally break that run with ATTA, which is their eighth long player overall. The famously progressive, emotive, timeless sounds of the band haven't diminished over the last decade as signified by the first single - the rather epic 10-minute epic 'Blodberg'. The album writing process began in 2019 and was recorded across multiple continents and studios, including the legendary Abbey Road in the UK. The London Contemporary Orchestra feature on one of their most adventurous and accomplished albums in some time.

Review: Konrad Sprenger, as any real heads will know, is a moniker of Jorg Hiller, who works in many fields including composing, producing and instrument building. His work seamlessly blends scientific exploration of sound with pop sensibility and humour. From the diverse instrumentation of albums like Miniaturen and Versprochen to the electric guitar explorations of Stack Music in 2017, Hiller's evolution is ever-captivating. Here he unites these elements into a playful, infectious epic performed by Hiller and the enigmatic Ensemble Risonanze Moderne with guest Oren Ambarchi weaving swirling harmonics into its vibrant soundscapes. These two side-long pieces feature polyrhythmic frameworks blending shimmering guitar harmonics, horns and synthetic bursts into a mix of avant-garde and techno wonderment. Hiller doesn't release very often but when he does, it's worth taking note.

Review: It's Squid, but maybe not as you knew them in short form. While musi-cally not a million miles from the earliest samples we had from the band, Bright Green Field is a different place that we find them in. An "imaginary cityscape", as the outfit have apparently put it, which is home to a multitude of things - people, events, movements, memories.

So whereas before things took a pretty intimate, even domesticated lyr-ical slant, here the scope is much greater. Track titles like 'G.S.K.' should be enough to prove the point (a not-so-subtle nod to Big Pharma giant GlaxmoSmithKline). Elsewhere themes range from aggressive propa-ganda of right wing politics to physical space itself. An outfit real-ising what can be done with the reach of their voice (or maybe just fi-nally releasing it), while remaining true to the punk, art rock, jazz fusion you were hoping for from this confident Bristolian debut.

Review: If you're not familiar with Jim Jarmusch and Carter Logan's SQURL project, then it's time to rectify that. Over the past eight years, the two interdisciplinary creatives have been touring some of the most prestigious venues in the world (Art Institute of Chicago, Elizabeth Hall, London, Center Pompidou, Paris), presenting live scores to the experimental films of Dadaist pioneer Man Ray. Can you guess where this is going? As Logan puts it: "It's a journey we want to take the audience on, illuminating themes throughout these films. They are discrete, but there are also recurring echoes throughout the whole programme". Music For Man Ray presents some of those spellbinding ideas-as-soundtracks in an album form. Tunes and noises created and developed to accompany the film Return To Reason, when experienced as standalone audio it emphasises just how captivating the tones are.

Review: Alessandro Asso Stefana's debut self-titled album showcases his diverse musical range as he effortlessly incorporates instruments and styles from rootsy folk and primitive blues to psychedelia, soundtracks, and ambient explorations. Drawing from the Smithsonian Folkways archives, he integrates Roscoe Holcomb's historic voice for a great blend of past and present. Each track unfolds like a little musical vignette that merges various instruments from different eras-such as the Marxophone, pedal steel guitars, and psychedelic organs. The second half of the album features Holcomb's voice, bridging folk traditions with modern improvisation and in all the record suspends you between earth and sky.

Review: On their seventh album, The Breaks, SUUNS embrace limbo and craft their most emotionally resonant and sonically rich work to date. The Montreal trio of Ben Shemie, Joseph Yarmush, and Liam O'Neill dive deeper into pop instincts than ever before here while also pushing their experimental rock boundaries. With O'Neill at the production helm, they explore loops, synths and MIDI instruments that might well draw to mind Tangerine Dream and certain downtempo trip-hop acts. The album was forged over two years of touring and remote collaboration and blends whispered intimacy with vast soundscapes best exemplified in tracks like 'Doreen' and the superbly adventurous title song.

Review: Damo Suzuki was with seminal krautrock outfit Can from 1970 to 1973, lending his vocal talents to albums such as Tago Mago, Future Days and Ege Bamyasi. Exactly fifty years after the latter LP, you can hear him on this new recording described as being 'derived from fantasy'. In collaboration with Spiritczualic Enhancement Center, an eight-piece group of self-proclaimed disciples from the CAN University that gathered at Berlin-based club Arkaoda, it feaures three tracks; 'U', 'Ra', 'Beya' - excerpts from this gathering at the beginning of 2020.