Review: Many may know Seungyoung Lee AKA Mogwaa from his superb EPs and singles on Starwave, which sit somewhere between chillwave, boogie, proto-house and Italo-disco. There have been plenty of signs of his musical dexterity, though, and its' this side of his chameleon-like character that come to the fore on debut album "07307". While decidedly Balearic in vibe and tone, the album's nine instrumental soundscapes draw on a dizzying array of influences, from the synthesizer-based sounds he's known for to jazz, ambient, new age, dubbed-out synth-pop, Turkish style psychedelia and spaced-out movie soundtracks. In other words, it's a hugely enjoyable, atmospheric and alluring musical trip that surprises and delights at every turn.
Review: Stroom's latest chunk of left-of-centre brilliance comes from Jan Van Der Broeke, an artist active since the 1980s who's arguably most famous for his work under the Absent Music, June 11 and The Misz aliases. 11,000 Dreams is his first career retrospective and draws on 30 years worth of self-released cassettes and CD-Rs. It's a sublime set, all told, pulling together dreamy, evocative, melodious and soft-touch tracks that blur the boundaries between ambient, skewed downtempo pop, blissful warmth, spoken word laden cheeriness (the odd but brilliant "My Lesbian Girlfriends") and spacey cuts laden with exotic instrumentation and whistling synthesizer melodies.
Review: Ilari Larjosto has worked with Austrian Finnish trio Skymax and collaborated with the likes of DJ Fettburger as 358 Men, but now becomes Stiletti Ana for a debut solo record that explores the similarities and differences between synth, kraut, techno, kosmiche and new age ambient. The multidisciplinarian artist has a widescreen cinematic style that will expand your mind to an infinite horizon. This is music with real architecture that invites you deep within to be more attuned to what is unfolding around you.
Review: Earlier this year, PJ Harvey wrote the score to director Ivan van Hove's theatrical adaptation of award winning 1950 film "All About Eve". Like the play itself, the score won praise, with critics acclaiming its' combination of emotion-stirring new musical motifs and the creative way in which Harvey used elements of Franz Liszt's "Liebestraum", a piece of music that featured heavily in the original movie. You can now judge it for yourselves thanks to this recording by Harvey, two fellow musicians and play stars Gillian Anderson and Lily James (each sings one song). We were spellbound, and we think you probably will be too.
Review: Having built up his self titled label alongside his sterling work as part of Oscillat, Lazare Hoche and Will & Ink, the one and only Malin Genie delivers his debut solo album. Moving beyond the pure club focus of his singles and EPs, the Genie has seized this opportunity to present a widescreen panorama of his sound, leading in with the subliminal ambience of "You" as a springboard to explore breaks, electro, techno, and especially IDM. There are so many ideas swirling round Anthropomorphic Sympathy, it's hard to know where to begin describing it. A true headphone commute for the deep listener to burrow into.
Review: Ex-Terrestrial associate Richard Wenger - better known as R Weng - dons a new alias here, for an album that's apparently the result of a "three-year experiment in minimal synth maximalism". In practice, that means a hugely enjoyable trip through Radio Workshop style synthesizer motifs, hypnotic machine rhythms, 1970s style electronic music soundscapes, jaunty turn-of-the-90s IDM and occasional forays into decidedly dubbed-out, synth-driven grooves. It's a hugely enjoyable collection of cuts, with Wenger providing finished tracks that sound like they could have been made in 1979 (or in some cases, '69) rather than 2019.
Review: Another month, another essential release from Astral Industries. The label's latest missive comes from DeepChord man Rod Modell and friend Walter Wasacz's Shorelights project, a partnership that has previously resulted in two fine albums of "soft noise and groovy ambient techno". Their latest missive comprises of two lengthy and undeniably immersive tracks that combine atmospheric field recordings (babbling brooks, crackling radio static etc.) with heavily processed electronic textures, slow-burn synthesizer melodies and chords so enveloping you could probably use them as a blanket. It's hard to get a handle on just how seductive and soothing the album is from the brief clips showcased here, but we can guarantee that "Bioluminescence" is a hazy, horizontal treat from start to finish.
Review: Emptyset have been innovating in the world of electronic music for over a decade now. James Ginzburg and Paul Purgas' music is challenging yet poignant, artful yet immersive and fuses sound design with raw audio synthesis. "Blossoms", the new record for Thrill Jockey was developed by a process of "seeding a software model with a sonic knowledge base of material to learn and predict from". That base material was then embellished with 10 hours of improvised recordings using sources such as wood, drum skins and metal, giving rise to this bleakly beguiling album of drone, industrial and audio experimentation.
Review: 12th Isle's latest must-check chunk of entertaining experimentalism comes from Lo Kindre, whose dub-wise 2017 debut on Optimo Music was arguably one of that year's most overlooked EPs. "Chlorophytum", the producer's first solo missive since then, is another lo-fi electronic dub treat. Of course, it's not all gentle bass-heavy rhythms, endless delay trails and cute electronic melodies - closing cut "For Sleep" is a buzzing electronic raga, for example - but it's on these bass-heavy excursions that Lo Kindre most frequently hits the spot. Highlights include the extraordinarily sub-heavy shuffle of "Sounder", the ambient dub wooziness of "Aibell" and the creepy alien-dub oddness of "No Hiding".