Back catalogue: Post Rock/Experimental

Review: Rhode Island post-metal avant-garde duo The Body have made a name for themselves due to their caustic maelstrom of harsh, brutalist experimentalism as well as their prolific output and collaborative nature, releasing collab albums with the likes of Full Of Hell, Thou, Uniform, and most recently, Dis Fig. Their latest endeavour sees the pair link up with another duo of musical extremity, Toronto, Canada's recently reformed industrial two-piece Intensive Care. Was I Good Enough? has been on the cards since the artists first began making plans as far back as 2018, trading, warping and ruining mutual sessions with layers of loops, distortion, samples and even dubs, constantly striving to find the ideal haunting balance between both of their sonically hideous, oppressive worlds. For all of our ears' sakes, they just might have succeeded.

Review: Wilson Tanner steps on solid ground with Legends, a pastoral odyssey steeped in the rhythms of South Australia's Manon Farm. Swapping coastal breezes for the dusty toil of the vineyard, the duo channel the grit of farm life: dirt-crusted boots, crackling radios, and the far-off hum of summer crickets. Their previous works basked in suburban lethargy and nautical drift, but here, the focus is on the raw textures of agricultural labor, where ducks and dogs roam, tractors rumble past, and stainless steel tanks glint in the sun. Made entirely off-grid, the Manon sessions repurpose wind, brass, balalaika, and synth, rigged together with wire and tape. Legends distills the essence of natural winemaking into sound: feral, unfiltered, and alive with imperfections. Overflowing with rustic charm and irreverent humour, it's a heady swirl of folklore and fermentation, bottled straight from the land.

Review: British conspiracy thriller Utopia follows a group of young adults who, after discovering a mysterious comic book - The Utopia Experiments - embark on a manic quest for corporate restitution and prophetic fulfilment. As a shadowy government organisation detects their plans and resolves to track their every move, we watch an empathic but deadly game of cat-and-mouse; and Cristobal Tapia de Veer's acclaimed score only heightens the tension. This new 2xLP edition includes such instantly recognisable motifs as 'Brainwave Playground', 'Satan's Waltz' and 'The Monarch's Pyramid', capturing the series' eerie and intense atmosphere. The score continues to resonate to this day, following Tapia de Veer's success with The White Lotus and Babygirl.

Review: Team Sleep were never designed to exist in the music industry most of us recognise. First of all, their music doesn't really fit into anything that's easy to categorise - dream pop, trip hop, indie, post-punk, lo-fi, psychedelic, shoegaze, electronica. In 2024, that hybridity is standard, but in 2005, when their self-titled debut album first landed, things were far more shoe-boxed, if that's even a word. This is only part of the issue, though, from a sales perspective. Almost 20 years after it's initial release, Team Sleep remains the band's only studio album. They disbanded one year later, returning in 2014 for another 12 months before disappearing again. Their hiatus continues to this day. Now if that's not reason enough to dig deeper into the legacy, we don't know what is.

Review: Renowned for his seminal work with acts such as The Moody Boys, 400 Blows, and The KLF, the incomparable Tony Thorpe compiles this astutely curated, meticulous collection of 16 rare and sought-after post-punk era cuts that the maestro would regularly spin at parties, making them his personal pile of niche gems. Featuring tracks from Public Image Ltd, Mark Stewart and The Maffia, Basement 5, 23 Skidoo, and African Headcharge, to name but a small handful, Post Punk Theory arrives spread out across 2xLP and includes a 40-page fanzine booklet written by Matt Annis with photographs by Simon Pyke and Ian Brodie. A unadulterated true post-punk time capsule for both lifers and studious newcomers alike.

Review: Even if you've not heard Three Quarter Skies yet, this one should already be in the shopping cart. They had us at 'new project from Simon Scott of Slowdive', and we're not sure anybody has bothered to look back since. Eight gorgeous tracks that have grown out of last year's Universal Flames EP, which introduced this new moniker to the world, and was itself based on a semi-improvised live recording session. Here, though, things are resolutely more focused and planned. Depth of sound is a big aspect, with plenty navigating similar cosmic territories to the shoegaze Scott built his stellar reputation on. Close your eyes to the world then, and allow these sounds to wash over and immerse you - there's little chance you'll find anything quite so powerful this week.

Review: Club scene doyen, dance music veteran, and rave culture hero Johannes Auvinen opts to depart from the dance floor, at least for the time being, and deliver Arles - an ode to the other side of the electronic-acid scene, those sounds that make most sense after the chaos and carnage of a party have subsided and you're safely home on the couch with you and yours and all dearest.
And it works as well as it should, with the experience both of living in that world and making anthems for it clearly evident in the overall production quality and ideas. Arles is a warm blanket, that friendly therapist, an album that understands where you've been because it was there too. Remarkably, despite what that may suggest, this is not ambient or particularly leftfield stuff. Instead, it's rhythmic, pop-infused electronica goodness, for want of a more succinct, less awkward turn of phrase.

Review: Few cities rival Portland in terms of the concentration of top quality independent record labels. And its native Topshelf Records is an absolute treasure trove of local and international talent, with the likes of Cool American, Eerie Summer and now Toe from their roster real standouts. The Tokyo-based post rock band - who produce mainly instrumental music - started out in the year 2000 and have gone on to release half a dozen EPs and four albums. It was obvious from the start that they had what it takes to be in this game for the long haul. This, their first EP, originally released in 2003, is now getting its fourth pressing. It's an idiosyncratic listen: there's nods to the likes of the genre's trailblazers (Explosions in The Sky and Mogwai), but also a truly distinctive drumming style. It's almost as if polyrhythmic legend Tony Allen was behind the kit at times. You hear these unorthodox, stylish fills underpinning the contemplative, beautifully affecting guitar tones and it works brilliantly.

Review: Anonym is a reissue of the debut album by Tolerance, an alias of Junko Tange, a Japanese singer and musician who was part of the experimental and industrial scene in the late 1970s. Vanity Records, meanwhile, were the legendary label that pillared the avant-garde music of Osaka. Across 'Anonym', its Dadaesque recitations, sparse guitar, piano, and electronic meanderings make for a beguiling, hypnotic, noise-laden and nigh creepy listen. Over just nine originals, various moods are laid down: 'I Wanna Be A Homicide' instantly oscillates between emo and creep, while dissonant numbers like 'Tecno-Room' invoke the chaos and paranoia of modern interior city apartments. Stephan Mathieu makes for a convincing remasterer; for those who like it weird, this should be in your basket.

Review: For the first time on vinyl, P-Vine reissue one of the earliest works by Yellow Magic Orchestra founder and later film composer Ryuichi Sakamoto. Before the fame and notoriety, Sakamoto lent a hand to the avant-garde singer Taeko Tomioka, whose 1976 album he produced, both in the box and out. Tomioka only recorded the one album, and later went on to develop a career as a poet, novelist and literary critic. Few self-proclaimed Sakamoto heads know this, which is what makes this P-Vine reissue so special. Were it not for Sakamoto's touch, Tomioka's animalistic performances would likely not have taken on their extensible quality; Sakamoto's virtuosity was more than enough to rigorously challenge Tomioka, producing less of a debutant's declamation than a mixolydian nightwalk, bringing out the potent harmonic range of whatever the musical equivalent of a tightrope walker is.

Review: Purely democratic bands are hard to come by, but Tortoise might just be a known exception to that rule. 'Rhythms, Resolutions and Clusters' is probably ther best LP in their lot to encompass this outlook; a well-rounded album of trudging quasi-electronic codi, released in 1995 as part of the industrial and post-rock scenescape. It hears 7 tracks nod to wonky, pained, muddy dub in the vein of 23 Skidoo, This Heat, Pole or Muslimgauze, and this new cream reissue of course contains all the remixes; Steve Albini, Jim O'Rourke, and Bundy K. Brown et al.

Review: Brighton-based Australian vocalist, producer, and multi-instrumentalist Penelope Trappes shares her fifth album, requiescing ten captive ambient soundscapes, all of which share the aim of integrating dreamsand nightmares, grief and personal empowerment. Through the use of carnal, transcendent cello drones, Trappes explores historical and generational traumas in a chilling piece of gothic experimentalism. In a residential prelude, Trappes trapped herself in Scotland, eking remote studio solitude as a cranny in which to unleash personal demons, exploring and transmuting familial chaos and history. Raw and spiritually charged, the album offers a powerful meditation on loss; its threat, its meaning, and the process of coming to terms with it.

Review: Brighton-based Australian vocalist, multi-instrumentalist, and producer Penelope Trappes drops her fifth full length album and invites us on a bare bones, spiritual journey. Making herself incredibly vulnerable in the process, these are the kind of tracks that induce meditative and psychedelic trains of thought, haunting and beautiful, blissful and tense. Cello drones, gothic aesthetics, a king of futurist folk, at least some of the inspiration for which has come from time spent in isolated corners of Scotland. You can almost feel the wind blowing through the room as A Requiem lures and entices, breaks and mends hearts. Ambient, neo-classical, trance inducing works of wonder. This is the kind of record that can help make you see the world for what it is, and realise just how lucky we are to be here at the same time.

Review: Studio album two from Danish electronic icon Trentemoller was a landmark for the producer and DJ. Already more than a decade into his career, and with a strong fanbase among techno, alternative electronica, and ambient listeners, this was the difficult second that cemented his status among the upper echelons of synth artistes. Destined to outlast the scenes and sounds from which they emerge. Producing a number of hit tracks - 'Sycamore Feeling' is still up there with Trentemoller's most recognised and beloved pieces - Into The Great Wide Yonder peaked at number two in the Danish Albums Chart, hit the Top 40 in the German album chart, and would receive double silver certification from the Independent Music Companies Association within a year - 40,000 copies sold (at time when sales were flatlining) - giving some idea as to how universally loved it is.

Review: The first new music from Trentemoller since 2022 proves to be his furthest foray into the area of dream pop and shoegaze-esque alternative sounds yet. Two bands are obvious reference points here, namely Cocteau Twins - see the dreamy, hazy 'Empty Beaches' and the vocals of Icelandic singer Disa, throughout - and The Cure, whose dark-edged instrumentation provides a grounding counterpoint to the more shimmering, ethereal sounds. That's far from the whole story though. There are other treats like 'I Give My Tears', with a searing Mary Chain vibe, and the beatless centrepiece 'Hollow', not to mention subtle electronic embellishments throughout, proving there are many musical facets to what's going on here. One for the dark nights ahead, for sure.

Review: Somewhere between Scotland, Leeds and the Welsh border, sometime in or around the year 2022, arose Tristwch Y Fenywod, the craven coven of Gwretsien Ferch Lisbeth (Guttersnipe, The Ephemeron Loop), Leila Lygad (Hawthonn) and Sidni Sarffwraig (Slaylor Moon, The Courtneys). Building on years of esteem accrued through their separate solo projects, Tristwch Y Fenywod still marks a stylistic curveball from any of their original works, not taking on a fusion of each, but rather presenting an entirely new triadic, spellbound sound. Tristwch Y Fenywod is an entirely Welsh-language affair, pairing sonic connotations of witch house and 'outsider' folk with otherwise subtle electronic elements and Celtic motifs, inviting instinctive comparisons to ravencore peers Kelora, electro-somnambulists oOOoO, or reverb-doused studio ident This Mortal Coil; but always eluding a facile reduction to any combo of these influences. Their name and eponymous title translating to 'The Sadness Of Women', these eight tracks land us somewhere in a no-go forest between two middle-of-nowhere roads, making for the best gloom-fest of the year.

Review: Tropicantesimo's Session 3 is the third in what is a trio of EPs that all come ahead of and tease a new Gitania album. This is a collection of sounds steeped in ritual, in healing and celebration of self through sound and dance. Tropicantesimo was originally a party in Rome that soon became a "collective listening experience" which now has its own studio. DJs Hugo Sanchez, Lola Kola, Rocco Mago, Gabor, and Egeeno are behind the sounds and they all bring a mix of world rhythms, messages and sounds that are steamy, deep, languid and alluring.

Review: There's something transportive about Odd Balade. The real question is, where does it take us to? Potentially very different places from the next listener, with much of what's here opaque enough to produce varying interpretations from a variety of ears. Even if we were all thinking and experience it in the same way, the sheer breadth of the tracks themselves would still invoke changeable responses. 1980s goth-wave, leftfield pop, haunting ethereality, medieval-hued folk tones, and that's really just off the top of our heads. Tiphaine Belin, AKA Trypheme, is certainly capable of conjuring a multitude of feelings, but Odd Balade makes more big statements than that - it reaffirms the artist as an esteemed producer and songwriter, not just an incredible vocalist. A record deserving of serious attention, to say the least.