ALVA NOTO Vinyl & CDs

Review: Storied German ambient, microsound and electronica musician Alva Noto (Carsten Nicolai) shares the fifth volume of his intentionally indefinite Xerrox series, Xerrox Vol. 5. First begun in 2007, after envisaging a series of albums released in chronic sequence, the Xerrox series expressly aims to prove that the continued copying and replication of recorded sound will produce an indefinite variation, each copy infinitely more interesting than the last. With every edition of Xerrox using the same album cover, the sonic contents of the Xerrox albums similarly mimic each other's movements, through a process of making minuscule changes that go onto produce cascading, domino-effecting results. The palette is expansive and cinematic as ever, though it is striking to know that these suites were achieved solely through the manipulation of recordings made and subsequently timestretched from scratch.

Review: Carsten Nicolai has left an indelible mark on electronic music since his debut 24 years ago, carving out a genre uniquely his own characterised by surgically precise sound shapes, glitched-out percussion, and vast atmospheres rich in frequency. Continuing his exploration of astrophysics and digital mechanics, HYbr:ID II is the second installment in Nicolai's series. Accompanied by a 12-page booklet of visually arresting diagrams, the music takes precedence. Immersive dub and electronica elements define the journey into intricately manipulated digital production, drawing inspiration from Minkowski's spacetime model. Each of the ten compositions, stemming from a score for Richard Siegal's Ectopia performance, offers a cosmic ballet of rhythm and resonance. Dense with pensive moods and resonant pitches, Nicolai's soundscape conjures a vast cosmic expanse, occasionally guiding listeners down unexpected auditory paths and prompting moments of deep reflection. The album's meticulous craftsmanship and expansive sonic palette underscore Nicolai's ability to seamlessly merge conceptual exploration with musical innovation. Perfect for fans of spatial manipulations, digital structures, and flawless sound design, Alva Noto adds another significant piece to his outstanding discography.

Review: Carsten Nicolai's distinctive approach to reduced, crystalline electronics continues to bear fruit with the second part in the Hybrid:ID series, which commenced in 2021. As with the prior volume, the music contained within is drawn from a commissioned score to a dance piece by Richard Siegal. As his own Noton label outlines, these ten pieces 'delve into infinity, drawing inspiration from resonance and elasticity.' Needlepoint pulses, electrostatic flickering and elegant dub techno forms abound, each sound given appropriate space in the unmistakable style Nicolai has made his own over a celebrated career on the fringes of contemporary electronic music.

Review: Carsten Nicolai returns to his NOTON label with a new album of Alva Noto work, exercising his trademark minimalist glitch through the prism of a soundtrack to a theatre piece developed in 2021 for Swiss writer Simon Stone's Komplizen. As well as his usual fusion of stark, clinical soundscapes and pointillist digital impulses, Nicolai folds in delicate piano and compositional elements which invoke more tangible emotions than you might often associate with his solo work, perhaps taking some cues from his collaborations with the late, great Ryuicihi Sakamoto. Presented as a double LP release, this is a freshly romantic slant on the Alva Noto story encased within his unmistakable soundworld.

Review: Back in 2008, noted experimentalist Alva Noto began a sporadic series of albums that were far more focused on dancefloor-inspired rhythms than his usual eccentric and inspiring fare. Unieqav is the third and, we're told, final part of the series. The album is apparently meant to be a sonic representation of an underwater dive, a conceptual theme which manifests itself through the storied producer's use of deep and atmospheric chords, fluid and occasionally glistening electronics, and rhythms that evoke images of ever-deeper dives into the dark, cold depths. Rhytmically, there are nods to electro, IDM, dub techno and Autechre, though the mood remains laidback and intoxicated throughout.

Review: The original 'Subterraneans', composed by David Bowie from their 1977 album 'Low', was an emotionally striking piece that illustrated the struggles of withdrawal. German legend Alva Noto teams up with Depeche Mode's Martin Gore and ambient wizard William Basinski to transform the piece into an ephemeral, ghostly number that is almost even more chilling - with ambient synths and vocal echoing that conjure being lost in a deep cave, something almost supernatural at every turn. A truly haunting, yet aurally astounding, cover.

Review: Alva Noto and Ryuichi Sakamoto dropped this one first back in 2006. It was the third collaborative album between the ambient maestros and the third installment of V.I.R.U.S.'s five albums series. It was remastered last year and now gets served up as a reissue alongside three all-new pieces, namely 'City Radieuse', 'Veru 1', and 'Veru 2'. The first of those was written for a short cinematic essay in 2012. The album centres around the pano with padded bass and electronic frequencies adding extra depth and texture. It is another classic in their oeuvre.

Review: Vrioon was the first ever collaboration album between Alva Noto and legendary synth man and composer Ryuichi Sakamoto. 20 years after it became the first instalments of V.I.R.U.S.'s five records together it gets the full reissue treatment. The original tracks from the album are joined by an all new composition 'Landscape Skizze' which was laid down in 2005. The record is defined by alternate piano chords, lush electronic tones and quivering timbres that are delicate yet impactful.

Review: Where to begin with this? Vrioon, quite simply, is a work overloaded with beauty. The blue, heartache solitary piano of Sakamoto bleeding into the micro-constructions and nano-beats of Carsten Nicolai's rewired machinery. "During his first live tour in Japan, Carsten Nicolai met Ryuichi Sakamoto in Tokyo. One year later Nicolai was asked to remix material from Sakamoto for the Japanese magazine Code Unfinished. "The material that was given to me was already layered with digital effects. From one little clean piano piece I made the first track. I combined those simple piano chords with a clear rhythm constellation. Somehow Ryuichi was very surprised and really liked my work. Weeks later he sent me another piece recorded specifically for this project." The result is an interweave of tracks that is quite simply breathtaking, a melange of pure cathartic piano progressions and whispering beats, a re-definition of minimalism and intellectual application into something that is quite clearly open and exposed as a spectrum of emotion and sonic loveliness. Immense.

Review: Since its initial release back in 2008, Alva Noto and Ryuichi Sakamoto's fourth collaborative album, UTP, has become one of the pair's most celebrated full-length excursions. There's a good reason for that, too. Recorded with the Ensemble Modern string section, it presents an impeccable, atmospheric and otherworldly blend of electronic ambience, high-minded abstract experimentalism, and modern classical that benefits greatly from the presence of variations on multiple tracks - a creative decision that makes it sound like a cyclical, subtly evolving trip through minimalistic, Reichian movements. Astonishingly, this is the first time the album has ever been available on vinyl, so we'd expect copies to fly out. Pre-order now to avoid disappointment.