Review: Body Of Light are brotherly duo Alex and Andrew Jarson from Arizona, but you'd be forgiven for thinking they were from the mid 80s the way they nail the sound of heavy-hearted synth-pop and new wave. This new album was written in the wake of 2019's Time To Kill, and it arrives ten years into their career. The maturity in the music shines through, not least in the voluptuous instrumental parts - just listen to the bass slinking around 'Never Ever' and you'll hear what we mean. If you like your synth-pop shot through with a seductive darkness, this album has more than enough to whet your appetite.
The Saints Go Marching Through All The Popular Tunes (2:12)
Summer Will (3:24)
Outside The Pier Prowled Like Electric Turtles (2:37)
The Total Waste Is Here (News Cut-Up) (1:57)
Choral Section (Backwards) (2:28)
We See The Future Through The Binoculars Of The People (2:24)
Just Checking Your Summer Recordings (2:28)
Creepy Letter (Cut-Up At The Beat Hotel In Paris) (1:07)
Inching (Is This Machine Recording?) (2:25)
Handkerchief Masks (News Cut-Up) (4:19)
Word Falling Photo Falling (2:44)
Throat Microphone Experiment (4:28)
It's About Time To Identify Oven Area (3:42)
Last Words Of Hassan Sabbah (4:01)
Review: Avid Discogs fiends are likely to be already aware of Nothing Here Now..., the esteemed collection of audio recordings made by classic writer William S. Burroughs, known for macabre classics like Junky and Naked Lunch. First laid to record in the 50s and 60s, the rare recordings were later picked up by Throbbing Gristle members Genesis P-Orridge and Peter Christopherson, who sensitively compiled Burroughs' already spectral murmurings into a comprehensive and listenable final LP. This reissue comes via Dais, and once more provides a window into the troubled personal life of the writer, who desperately sought to escape city life.
Review: Ivan Pavlov aka CoH's new experimental electronic opus Radiant Faults makes a point of its creation deriving from the use of a rare new synthesizer, the Silhouette Eins. Developed by the artist Pit Przygodda, the Eins is the centrepiece of this album for good reason: it is a unique bit of gear, in that it uses real-time video signal as its carrier for sound synthesis. This direct interfacing of visual and auditory realms inspired a haunting praxis in Pavlov, who began the album as a means to commune with ELpH, one of the "celestial beings" first communicated with and summoned by the supergroup Coil. Pavlov continues what Coil devilishly started here, fleshing ELpH out evermore into whispery echoes and sinewy traces.
Review: Musick to Play in the Dark Vol. 2 was the 2000 studio album from Coil and, as Part 1, it was described by the band as "moon musick." This contrasts to earlier work which was solar rather than lunar inspired, but either way, it was another classic from Peter 'Sleazy' Christopherson and John Balance. Their partnership remains one of electronic music's most magically alchemic and after a quiet start, this album slowly but surely takes its hold on listeners. 'Ether' and 'Paranoid Inlay' are confessional tone in tone while the final two 'Where Are You?' and 'Batwings (A Limnal Hymn)' are brilliantly haunting. Fact fans might know that the latter was actually played at John Balance's funeral service.
Moon's Milk Or Under An Unquiet Skull (part 1) (8:07)
Moon's Milk Or Under An Unquiet Skull (part 2) (7:56)
Bee Stings (4:51)
Glowworms/Waveforms (5:42)
Summer Substructures (5:04)
A Warning From The Sun (For Fritz) (8:02)
Regel (1:15)
Rosa Decidua (4:53)
Switches (4:43)
The Auto-Asphyxiating Hierophant (5:57)
Amethyst Deceivers (6:17)
A White Rainbow (8:51)
North (3:48)
Magnetic North (7:23)
Christmas Is Now Drawing Near (4:57)
Copal (16:45)
Bankside (6:48)
The Coppice Meat (10:48)
U Pel (Incense Offering) (12:33)
Review: Originally released as a double CD in 2002, Moon's Milk (In Four Phases) is a collection of four EPs Coil issued seasonally in 1998 via their Eskaton imprint. Featuring John Balance, Peter "Sleazy" Christopherson, Drew McDowall, and William Breeze, it was recorded in their Chiswick, London home studio before they relocated to Weston-Super-Mare. This pivotal work has long been considered a high point in Coil's discography, though it was never reissued or pressed on vinyl at the time. Arranged around the equinoxes and solstices, Moon's Milk captures Coil's deep dive into improvisation, ritualistic sound design and mystical atmospheres and stands proud as a testament to their individuality.
Moon's Milk Or Under An Unquiet Skull (part 1) (8:07)
Moon's Milk Or Under An Unquiet Skull (part 2) (7:56)
Bee Stings (4:51)
Glowworms/Waveforms (5:42)
Summer Substructures (5:04)
A Warning From The Sun (For Fritz) (8:02)
Regel (1:15)
Rosa Decidua (4:53)
Switches (4:43)
The Auto-Asphyxiating Hierophant (5:57)
Amethyst Deceivers (6:17)
A White Rainbow (8:51)
North (3:48)
Magnetic North (7:23)
Christmas Is Now Drawing Near (4:57)
Copal (16:45)
Bankside (6:48)
The Coppice Meat (10:48)
U Pel (Incense Offering) (12:33)
Review: First compiled as a double CD in 2002, Moon's Milk (In Four Phases) is a suite of four EPs that Coil released seasonally via their in-house Eskaton imprint across 1998. The line-up for these sessions were John Balance, Peter "Sleazy" Christopherson, Drew McDowall and William Breeze. Recorded primarily at their home studio in Chiswick, London on the eve of a permanent relocation to the small seaside town of Weston-Super- Mare, the collection has long loomed as a pivotal and pinnacle work in the group's discography, but has never been officially reissued, or re-pressed on vinyl. Time has only ripened its tapestry of regal strangeness. Arranged sequentially in tribute to the equinoxes and solstices, Moon's Milk captures Coil at a revelatory crossroads, leaning deeper into improvisation, spontaneity and sound design. 'Moon's Milk or Under an Unquiet Skull' initiates the proceedings on 'Spring Equinox', a two-part netherworld organ seance woven from vocal drones, cathedral keys, seasick strings, and opiated undertow. From there, 'Summer Solstice' skews lighter but no less incantational, with Balance embracing his voice- as-instrument across lucid dream torch songs ('Bee Stings'), purgatorial spoken word ('Glowworms/Waveforms'), sultry chamber pieces ('Summer Substructures'), and falsetto ravings ('A Warning From The Sun (For Fritz)'.
Red Birds Will Fly Out Of The East & Destroy Paris In A Night (2:00)
Red Queen (10:43)
Broccoli (9:16)
Strange Birds (7:40)
The Dreamer Is Still Asleep (9:41)
Review: Coil arguably were in their best form as the new millennium dawned as well as being already deep into their career. Musick To Play In The Dark not only lived up to its name, it marked a transition both sonically and astrologically for the band as they declared a new era as a lunar rather than solar group. Mixing gently melodious ambient motifs and immersive aural textures with more experimental sounds, spoken and sung vocals and a variety of unobtrusive rhythms, the album remains one of the most vivid and enjoyable outings in their vast, action-packed catalogue. Whether it's spooky distorted sounds on 'Strange Birds', 'Red Queen''s strange droning late-night piano soul, or the yearning ambient pop on 'The Dreamer Is Still Asleep', this is a subtly bold record packed with exceptional ideas.
Queens Of The Circulating Library (part 1) (25:00)
Queens Of The Circulating Library (part 2) (24:30)
Review: Queens Of The Circulating Library stands as a post-industrial masterpiece alongside Time Machines and Soliloquy For Lilith and is a sensory-warping long-form drone. Created by Thighpaulsandra and John Balance, the 49-minute track flows in cyclical waves which echo the minimalism of La Monte Young. Released in 2000, it marked the beginning of a series of evolving compositions and its theatrical opening features Thighpaulsandra's opera-singer mother delivering a dreamlike, declamatory monologue, setting the stage for the trip that ensues. The music shifts like slow-motion surf and is a fine example of Coil's unique ability to embrace extremes and mutation.
Review: Dais are presenting the first vinyl edition of this 2004 album from Tor Lundvall, which was originally released as a hand-numbered CD of 955 copies on New Years Eve. Initially conceived as a delicate album of piano and electronics, Lundvall developed his ideas for Last Light into an expansive, hugely atmospheric album which captures the twilight seasons of the Northern Hemisphere in a profound manner. From faint whispers of homespun beats to moody melodic refrains and vast swathes of reverb at every turn, Lundvall draws you in close on this spellbinding record, which makes its way to wax at the perfect time of year.
A Dream Of A Cartographic Membrane Dissolves (6:16)
Review: Drew McDowall's latest album, A Thread, Silvered and Trembling, is an exploration of electronic processing and traditional Scottish pibroch music. Co-produced with Randall Dunn, the album features a dynamic orchestral ensemble arranged by Brent Arnold, creating an eclectic and transcending sonic experience. The album's four pieces move between shrouded electronics and enigmatic orchestration, surging into elegant crescendos and evoking deep animism. Tracks like 'Out of Strength Comes Sweetness' and 'And Lions Will Sing with Joy' feature keening strings and disorienting drones, while 'In Wound and Water' sways with eerie cello undertones and lush layers of electronics. The album reaches its climactic peak with A Dream of a Cartographic Membrane Dissolves, where processed voices and grand orchestral stabs converge to create a haunting and cathartic finale. Throughout, McDowall's music explores themes of sacredness and profanity, creating a journey that lingers long after the music fades. A Thread, Silvered and Trembling is a testament to McDowall's ability to blend traditional influences with experimental electronic soundscapes, resulting in a thought-provoking work.
Review: TR/ST's Performance emerges as a striking testament to the project's evolution, now presented on eye-catching yellow vinyl. The fourth studio album from Robert Alfons, formerly known as Trust, dives deep into a haunting synth-pop universe crafted with the help of Night Feelings. Recorded in Los Angeles, this collection is a masterclass in balancing eerie synths, foggy low end, and Alfons's raw, emotive crooning.
The album's title reflects a friend's casual observation of Alfons's intrinsic performative essence. Tracks like 'Soon' burst with anthemic new wave hooks and caustic lyrics, while others such as 'All At Once' and 'The Shore' showcase a dramatic interplay between beauty and bitterness. Alfons's voice, both a tempest and an anchor, delivers a stream-of-consciousness narrative that navigates through realms of dread, lust, and emotional upheaval. Performance offers a mesmerising blend of melancholic grandeur and intense production, transforming each song into an immersive, emotional journey. With its unique soundscape and compelling storytelling, this album promises to impress and unsettle in equal measure.
Review: Xeno & Oaklander's Via Negativa marks their eighth venture into the realm of retro-futuristic synth-pop, blending meticulous electronic craftsmanship with emotional depth. Recorded in their modernist Connecticut home, which doubles as a two-story synthesiser lab, this album balances visionary ambition with technical precision. The duo, Liz Wendelbo and Sean McBride, translated embryonic piano sketches into intricate modular systems, layering harmonics, tuned percussion, and spectral devices that create rhythmic textures. Yet, despite its complexity, the music resonates on a human level. The title track opens the album with shimmering synths and a sleek vocal interplay, setting a cinematic tone for what's to come. Each track plays with mood and persona, capturing the band's fascination with theatricality and drama. It's a collection of widescreen anthems that feel both timeless and firmly rooted in the cybernetic present.
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