Review: Belong's latest offering, Realistic IX, presents a mesmerizing journey through acid-washed landscapes of sound. Michael Jones and Turk Dietrich craft an heavily processed sonic experience, where bleached guitars, hypnotic drums, and buried vocals coalesce to create shifting gradients of haze and hypnosis. Melodies ebb and flow, sometimes surfacing before submerging into feedback-laden currents. Despite a 13-year hiatus since their last Kranky release, Common Era, Belong's synergy remains undiminished. Their commitment to motorik drone and liminal emotion evolves on Realistic IX, offering a tactile and unreal exploration of sound. Tracks like 'Souvenir' showcase distant vocals shrouded in dissonance, while 'Image of Love' introduces drum machine work and reverberated melodic changes. Overall, Realistic IX is a shimmering comeback for Belong, capturing the band's enigmatic allure and pushing their sonic boundaries with finesse.
Review: Clinic Stars' debut album Only Hinting is a melancholic swirl of downer-pop and shoegaze, crafted by Detroit duo Giovanna Lenski and Christian Molik. Having spent 2022 and 2023 recording at their home studio, they layered each track with dense FX and deep reverbs, creating an emotional undertow that envelops every song. Tracks like 'I Am The Dancer' spiral with strummed guitar swells, while 'Remain' pulses with gated reverb, and the greyscale melancholy of 'Isn't It' drips with dreamy, aching nostalgia. The album is as much about escape as it is about longing. Though the duo cite their industrial surroundings as a key influence, the songs themselves feel as if they're trying to transcend these confines, soaking in the romance of distance and detachment. Previous EPs 10,000 Dreams and April's Past offered a similar slowcore haze, but Only Hinting takes this aesthetic further, blending melody and ambience until they become indistinguishable. There's a delicate balance between lightness and weight, a constant tug-of-war between floating and sinking. The guitars drift, vocals melt into the background, and the production feels both expansive and intimate, stretching across shadowy cityscapes. With this debut, Clinic Stars have created a deeply immersive sonic landscape that lingers long after it fades out. Available to pre-order now, Only Hinting will be released on LP format later this year.
Review: Only Hinting, the full-length debut record by Detroit duo Clinic Stars, both refines and redefines their pitch-perfect fusion of downer-pop balladry and featherweight shoegaze. Recorded and produced at the band's home studio, the album was created across 2022 and 2023, patiently layering FX and spatial depths to give each song a swirling, subconscious undertow. Between its burring washes of electric guitar crunch, its subtle electronic backbones, and its more quiescent moments of acoustic stripped-backness, we wouldn't have guessed that this one was a debut at all.
When I See Scissors, I Cannot Help But Think Of You (3:30)
Girth Rides A (Horse)+ (2:32)
La Ballade D'Alain Georges (4:43)
Beatrice Part 2 (4:08)
The Struggle (5:20)
Review: Adam Wiltzie is a member of Windsor for the Derby and Stars of The Lid, and alongside Christina Vantzou he crafted The Dead Texan back in 2004. It now finally gets a reissue which reminds us of its lush and weightless electronic and experimental charms. All 11 tunes are painterly in style with smeared synths and widescreen designs created using piano, guitar and electronic sounds. Piano motifs give an anchor to most of the tracks and there is spiritual gravity in many of them. Two decades old now but still relevant, the is a reissue well worth having.
Review: Jacob Long's fourth full-length LP for Kranky hears the artist otherwise known as Earthen Sea expand his repertoire to an almost full reimagining, taking to the now longstanding Earthen Sea moniker from the fresh incarnation as a "piano trio", rather than a solo production effort. Though we gather this might not genuinely be the case, all it took was a simple shift in self-imagining to fashion a completely different take on a still so far meditative sound. Here elements were chopped and resampled, then layered with bass, drums, percussion and additional keys; the result is a fusion of live band acoustics and downtempo loops, sculpted into nine smoke-and-mirror dubs of fractured jazz, soft-focus noir and trip hop dust.
Review: Back in 2011, Liz Harris - better known under her artistic alias Grouper - released a pair of albums under the "AIA" banner. The first, "Dream Loss", has already been reissued; here, they offer up the second, "Alien Observer". It partly explores similar sonic territory, where distant-sounding recordings of Harris' voice, synths and evocative guitars are smothered in reverb, field recordings and noise, but also includes a few sharper, more defined moments. Amongst these, we'd suggest checking the sublime title track, a beautifully becalmed and spaced-out fusion of Harris' vocals and delay-laden guitar arpeggio scales, and closer "Come Softly", an even more beautiful and minimalist piece that's nothing less than stunning.
Review: Ruins is the 10th LP from Portland artist Grouper, an incredible set that's found it's home on the inimitable and always on- point Kranky label...and yes, it's another fine outing from the voco-noise head. Tracks like "Clearing", however, show another side to Grouper's usual rough edge. There's an element of smoothness to those sombre keys and far-out vocals. It's basically an ambient album with an extra layer of soul in its core - check "Made Of Air" for a seriously trippy set of soundscapes.
Review: Liz Harris' image as a gothic, studio-dwelling, ambient mastermind is cemented by her 12th album, 'Shade'. Compiling a loose and formerly unrelated collection of songs made over the last 12 years - from the short, ruined polaroid-style opener 'Followed The Ocean', to the naked strum-singing of 'Unclean Mind' and the droning submergence of 'Basement Mix', this one is arguably one of her most lo-fi projects. It easily captures Grouper's emergence on the international folk-ambient scene through the analog fog of rare CD-Rs and handmade cassettes, making her career trajectory a ghost story if we've ever heard one. Gear up for a print edition, with original sky photographs by Harris' friend David Horvitz, as well as a signed archival letter-press print of Moon Study, her exclusive new book.
Is A Rose Petal Of The Dying Crimson Light Keyed Out (13:08)
In Mother Earth Phase (10:26)
A Sodium Codec Haze (5:46)
Across To Anoyo (15:21)
Review: On his last album, 2016's "Love Streams", long-serving ambient experimentalist Tim Hecker joined forces with an Icelandic choir and orchestra. This time round, he has headed East, utilizing the services of Japanese musicians and percussionists. The resultant set, "Konoyo", tips a wink to Japan's deep history in both ambient and jazz, but is far darker and dystopian in tone. It's an intriguing approach, all told, and one that allows for tracks to organically evolve, slowly shifting between fluid, otherworldly dreaminess and unsettling, paranoid creepiness. It's this interplay - not just between darkness and light, but also the experimental and the traditional - that makes "Konoyo" such a riveting and enjoyable listen.
Review: Noted as a "beacon of unease against the deluge of false positive corporate ambient currently in vogue" (we're looking at you, Spotify) Tim Hecker's No Highs is a righteous paean for what ambient music should be. And that certainly isn't mindful background music for turning you, the listener, into the best and most productive capitalist you can possibly be. Instead, Hecker's latest invites considered and focused listening; an alternative to the mediated, telescreeny musical SSRIs that impose on us today. A world turned upside down, the album presents highlights such as 'Lotus Light', 'Pulse Depression' ad 'Winter Cop', which suggest anarchic themes, while also fastening a sense of jaggedness and tumult, in a style of music that is so incorrectly expected to be neither of those things.
B-STOCK: Sleeve damaged but otherwise in excellent condition
Monotony (11:13)
Glissalia (3:55)
Total Garbage (3:28)
Lotus Light (11:24)
Winter Cop (3:26)
In Your Mind (4:53)
Monotony II (4:15)
Pulse Depression (2:57)
Anxiety (11:09)
Sense Suppression (6:09)
Living Spa Water (6:11)
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
Noted as a "beacon of unease against the deluge of false positive corporate ambient currently in vogue" (we're looking at you, Spotify) Tim Hecker's No Highs is a righteous paean for what ambient music should be. And that certainly isn't mindful background music for turning you, the listener, into the best and most productive capitalist you can possibly be. Instead, Hecker's latest invites considered and focused listening; an alternative to the mediated, telescreeny musical SSRIs that impose on us today. A world turned upside down, the album presents highlights such as 'Lotus Light', 'Pulse Depression' ad 'Winter Cop', which suggest anarchic themes, while also fastening a sense of jaggedness and tumult, in a style of music that is so incorrectly expected to be neither of those things.
Review: Since joining the label at the turn of the millennium, Scott Morgan AKA Loscil has become one of the admirably experimental imprint's most prolific artists. "Equivalents" is Morgan's ninth album for the label and sees him offer up eight meditations on a hazy, spaced-out theme. It's a slow-burn affair, where processed melodic elements, held-note chords and drone style aural textures slowly move across the sound space. It's a formula that guarantees goodness from start to finish, with the pulsing "Equivalent 3", ghostly "Equivalent 6", Mr Cloudy-esque "Equivalent 2" and the becalmed and poignant "Equivalent 8" standing out.
Review: Loscil, the moniker of Canadian sound designer Scott Morgan, released his debut album Triple Point in 2001, now available on vinyl for the first time. An ambient dub concept album inspired by thermodynamics, Triple Point explores soundscapes that evoke the principles of heat and entropy. Tracks like 'Hydrogen' and 'Ampere' build from muted beats and looped synth melodies, creating an atmosphere that is clinical and stark. Morgan's talent for arranging sound is evident as he layers samples to produce a sense of intricate, microscopic processes. 'Pressure' and 'Vapour' show his ability to craft immersive environments, though the overall minimal approach. Fans of experimental electronic music will appreciate Loscil's meticulous sound design and the album's conceptual depth.
Review: Heavyweight ambient partnerships don't come much bigger than Lawrence English and Loscil, who pool their considerable resources into this majestic album for Kranky. If you're familiar with Loscil's shimmering, sweetly synthetic sound, you'll be very happy with the grandiose blooms of undulating colour bleeding out of 'Cyan', while English's affinity for subtlety comes to the fore on 'Aqua'. The approach for the album was centred around a century-old pipe organ at the Old Museum in Brisbane, but of course there's been a lot of work done on the original sound sources. There's no great tussle between the respective artists - their sound practices merge beautifully, rendering an essential addition to both of their considerable catalogues.
Review: Few recording artists have aligned the quantity and quality of their releases as well as New Zealand singer/guitarist Roy Montgomery has in 1995. Beginning with Kranky's release of the soundtrack for an imaginary film That That Is...Is (Not) by Roy's duo Dissolve early in the year, a series of superb albums and singles have been issued by a variety of labels across the world. Each one of them is a must have. Most recently, the Drunken Fish label released a collection of pastoral drones entitled Scenes From The South Island, singles have appeared on the Roof Bolt and Gyttja labels, and further singles are scheduled with Ajax, Siltbreeze and others. Temple IV is the first solo recording by Roy Montgomery on Kranky; the album was recorded by Roy on a four-track tape deck and then thickened up with monophonic moog. The tracks thereupon are thick with interwoven guitar lines and Moog drone, inspired by the Guatemalan rain forests and the mysterious ruins of the temple and ruins Roy visited there. The long overdue recognition of Montgomery as a crucial figure in New Zealand's musical history as a member of The Pin Group, Shallows and Dadamah, is now augmented by his new recordings. Temple IV will serve to extend and deepen that appreciation.
Review: South Carolina singer and producer Niecy Blues describes her songwriting process like an undertow: "I feel a strange pull, and let it carry me, following swirling leaves/whole days roll by, forgetting about the body." Their full-length debut, Exit Simulation, captures this sense of deep-rooted divination, cycling between simmering ballads, ghosted r&b, downtempo gospel, and looped vocal improvisations - often within the same track. The title is taken from a science fiction novel she read during the purgatory of the pandemic, alluding to a dimensional ideation of departure - "the permission to imagine leaving." Recorded in her current home of Charleston, she characterizes the album's mood in terms both reflective and raw: an exploration of things suppressed, foundations beginning to crack, "talking myself off a ledge." The music of Niecy Blues transposes reverie and reckoning into emotive devotionals of keys, guitar, bass, synth, and bewitched voice, steeped in sacred atmospheres gleaned from a youth spent in a religious Oklahoma household: "My first experience with ambient music was church - slow songs of worship, with delay on the guitar - even if you don't believe, you feel something."
Review: Christina Vantzou's ambient music is often inspired by nature, with past projects centring on the likes of fungi and the sublime landscapes she's encountered on her travels across the world. Now debuting her latest as a self-release, No 5 is, in Vantzou's own words, a - slow light omnidirectional - LP inspired by the vistas she witnessed when lounging on the isle of Syros in the Aegean Sea. It sounds luxurious, but the tone of the album itself is a lot mellower and slow-moving. 'Surreal Presence' sounds more like the siren call of a mournful swamp banshee, and the preceding tracks are equally as compelling, haunting.
Buried At Westwood Memorial Park, In An Unmarked Grave, To The Left Of Walter Matthau
Tissue Of Lies
Pelagic Swell
Stock Horror
Dim Hopes
As Above Perhaps So Below
Mexican Helium
We Were Vaporised
(Don’t Go Back To) Boogerville
Review: Adam Wiltzie is an American-born, Belgium-based ambient composer, sound designer, film soundtracker and one half of A Winged Victory For The Sullen. His latest album-length suite was inspired by two things: a recurring dream in which people die after listening to his music, and a fascination with sodium pentathol, a barbiturate routinely used as a general anaesthetic. It's a kind of musical exploration of - to paraphrase his label's accompanying press release - tiptoeing between beauty and oblivion, or sleepiness and wakefulness. Mixed by Loop man Robert Hampson and featuring strings recorded in Budapest, the album ebbs and flows majestically, with billowing orchestral moments nestling side by side with creepy ambience, immersive and dream-like soundscapes, simmering melodic motifs and the kind of arty but enveloping fare that reminded us a little of the Orb and Robert Fripp's mid-90s FFWD project.
Buried At Westwood Memorial Park, In An Unmarked Grave, To The Left Of Walter Matthau (4:46)
Tissue Of Lies (3:37)
Pelagic Swell (3:28)
Stock Horror (7:14)
Dim Hopes (3:37)
As Above Perhaps So Below (2:24)
Mexican Helium (3:08)
We Were Vaporised (4:28)
(Don’t Go Back To) Boogerville (3:05)
Review: American composer and sound engineer Adam Wiltzie, may not yet be a household name in electronic music yet but it's a safe bet you have heard projects that he has been involved in. Adam is one half of the highly regarded ambient and drone project Stars Of The Lid for the past 30 years and also worked with many popular rock and indie bands as an engineer as well as done composing for film and TV. Eleven Fugues For Sodium Pentathol is the name for his first all original material for a full album. Last year in 2023 brought the untimely death of Stars Of The Lid partner Brian Mcbride. However, Adam's relationship with Kranky records is as strong as ever and that's where his first solo album finds a home. The music is inspired by a recurring dream Adam had where the music he composes makes people die. The music blends heavy emotions from ruin to absolute beauty. A powerful album that has extreme depth and cinematic expansiveness. We hope this will be the start to a very productive solo career that will continue his excellent work that was done with Stars Of The Lid.
Review: Windy & Carl's album Consciousness encapsulates the duo's exploration of ambient and drone music with a warmer, more pastoral feel compared to their previous works. Absent are the vague dread and claustrophobia, replaced by buoyant soundscapes that evoke sense of tranquility. The song titles themselves, such as 'The Sun' and 'Elevation,' reinforce this lighter tone. 'The Sun' opens the album with simple yet direct electric guitar chords, setting the stage for the serene journey ahead. Even tracks like 'Balance (Trembling)' touch on darker shadings but quickly transition to glowing, comforting tones. Tracks like 'Elevation' and 'The Llama's Dream' contribute to the dream-like atmosphere of the album, with shimmering tones and ethereal vocals adding to its hallucinatory quality. 'Resolution' concludes the album with a final, contemplative note. Consciousness shows Windy & Carl's dedication to perfecting the drone. While there may not be a major departure in style, the album is commitment to crafting immersive sonic experiences. For fans of ambient and drone music, Consciousness is another great album to have and enjoy.
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