“German electronic originator Gudrun Gut’s latest solo collection distills a lifetime of persuasions and obsessions into a compelling 14-track statement: “Moment.” Stark, somber, sultry, and clever, the sides slide between ballad and lament, synth-pop and spoken word, anthemic and abstract.” Bandcamp
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How I wish they would release this one out as a 7″
“L.I.E.S affiliate Delroy Edwards and avant-pop provocateur Dean Blunt have released Desert Sessions, a collection of hazy instrumental tracks that arrives on Edwards’ own label L.A. Club Resource.
Edwards’ left-field dancefloor-orientated sound is submerged in the tape hiss of Blunt’s signature psychedelic murk, with snatches of vocal samples and choppy, feedback-soaked guitar snippets heralding the enigmatic producer’s shadowy presence.” Source
“On paper, the combination of French house pioneer Étienne de Crécy, caustic monologist Baxter Dury, and new-breed riot grrrl Delilah Holliday of Skinny Girl Diet seems like it wouldn’t work. Or maybe it was just mad enough to work, because their 2018 album, B.E.D, is a delight. The performers work to fit their individual skills into a cohesive unit; de Crécy builds sparse, bubbling musical beds over which Dury intones his tales of woe and disdain, while Holliday brings some velvety drama to the proceedings. Tracks like the electro-lite “Tais Toi” and the rubbery “How Do You Make Me Feel” are a perfect blend of their skills; Dury is hilarious and debauched, de Crécy lays down a funky machine-made groove, and Holliday sings the chorus with style. It’s a pattern repeated with slight variations (like “Fly Away,” where Holliday takes over the lead vocals with winning results, or “White Coats,” which actually touches on some real emotion under the snark) on the rest of the record’s eight short tracks. Indeed, if there is any complaint that can be made about B.E.D, it’s that it’s too short. This magical grouping of talents could have made an album twice as long and it wouldn’t have gotten stale. Hopefully it’s not a one-time situation, and they will clear space on their schedules for a follow-up.” Allmusic
“The violence of “Crib” gives way to the stirring tribal patter of “Ever Impending Doom,” where snagging percussion is punctuated with squelchy acid zaps and pealing leads, before melting into the motorik thrum, wild flanging and industrial clank of “Sentient.” It’s the considered dynamics of the mix that gives the music such presence—the cavernous tom blasts in “Sentient” punch out the low end only when it’s absolutely necessary for dramatic impact. The patience with which these sonic accents are deployed creates a constant tension that is central to the experience of the album.” Source
“In the late ’80s and early ’90s, Neneh Cherry was basically the coolest person on the planet. The daughter of a jazz great, she grew up in Sweden and in London, got into punk rock, and lived with the Slits’ Ari Up. By 1989, she was a pop star, rapping and singing over beats from the UK’s most cutting-edge dance producers. Her first two albums, Raw Like Sushi and Homebrew, are totally essential pieces of pop-music bricolage and attitude projection.
These days, Cherry might still be the coolest person on the planet. Earlier this month, she released “Kong,” a strong new single co-produced by Four Tet and Massive Attack’s 3D. And today, she’s announced plans to release the new album Broken Politics, which, like her 2014 LP Blank Project, was produced entirely by Four Tet.” Source
“Sorcerer emerges from his jungle hideout with eight fresh new tracks for Dream Chimney’s second release and brings even more of his signature balearic synth-pop shoegaze psychedelic fusion. Recorded after hours in his backyard studio, the latest album “Tape Dreams” channels his dream pop influences and melodic synth stylings. “Tape Dreams” is well-suited for the headphones or the boombox. Hints of house, new age and disco, transport the listener to the tropical island paradise you’ve always dreamed of.” Bandcamp
“‘On My Skin’ is the most openly romantic track on our new album. It’s a song that deals with the glowing anticipation of new relationships and the uncertainty and optimism whilst falling in love.
It’s also one of the most melodic songs we’ve ever recorded and is both melancholic and euphoric. We consciously allowed the vocals to sit higher in the mix, and be less obscured with reverb than in the past and think this song perfectly captures the bittersweet nature of our album.” Source
“TVAM, aka Joe Oxley, is one of those post-Internet ‘bedroom producers’ that we’ve heard all about for the last five year. He may be mysterious. He may only exist through blurry photos attached to press packs. But ‘Psychic Data’, his debut record, is a proper, rabid statement. The anonymity that proliferates so-called ‘bedroom projects’ – particularly the post-Ariel Pink dream-pop that flooded the Internet in the early 2010s – is wholly absent from ‘Psychic Data’. It’s a cold-blooded flank of digital brutalism, an industrialised pop record that throbs and pulses with an infectious, entrancing haze that’s instantly addictive. Not just a fantastic record, but a cutting, self-aware exploration into guitar music’s toxic obsession with the past.” Source
“Synth supergroup Node doesn’t do things by halves. So when they decided to perform a rare concert in London in 2015 they chose, none other, than the auspicious Royal College of Music. It’s almost certain that these hallowed halls have never seen such an assemblage of vintage and modular synthesizer gear before. Although this could be said, most likely, about anywhere else one could imagin…Why bother in this world of computers and plugins? Well simply because they can…” Bandcamp
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