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Last post: Sep 28, 2026
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Adriano Zanni ~ Post Dub Cities
Sep 28, 2026 · original
Thematically, Post Dub Cities hearkens back to Future Sound of London’s Dead Cities , while tonally it recalls Murcof’s Rememberanza . Adriano Zanni ‘s vision of a future world is the cold reflection of a present reality in which many places are already deserted: peeling houses, dilapidated storefronts, bombed villages. At one time, they teemed with life. Once humans have no more use for a city, they abandon it, leaving only rubble and questionable specters. The reasons may be as far afield as the loss of jobs, the evaporation of resources, or a campaign of bombs. More than anything, Post Dub Cities is an album of mood. Zanni wants his listeners to be uncomfortable, to regard these cities as one does the stone wreckage of Ozymandius. From the opening notes of “Crisopoli” (also the first single), he casts a spell of resignation and despair. The pace is slow, but not sluggish; the beats re
TAKAAT ~ Is Noise, Vol. 3
Sep 27, 2026 · original
By the third instalment of their Is Noise series, TAKAAT [pronounced tuh-cot and meaning “noise” in the Tuareg language Tamashek] have moved further from the raw collision of Tuareg guitar and punk that initially defined the project. The trio has become a duo here, without Souleymane Ibrahim’s live drums or any vocals. Vol. 3 is more exploratory and searching, less concerned with songs than with seeing how far Ahmoudou Madassane and Mikey Coltun can stretch their shared musical language. Drum machines, drones and field recordings move into the space left behind. The four-part Ijit N’elwan begins almost by withholding TAKAAT altogether. “Ijit N’elwan 1” opens with field recordings and remains a brief, ambient introduction, establishing a sense of place before amplification takes over. The second part strips things down to an extended, heavily distorted guitar passage whose sustained tones
Giorgi Koberidze ~ Crude Walnut Taste
Sep 26, 2026 · original
Listening to Crude Walnut Taste , it is tempting to focus on Giorgi Koberidze ‘s compositional rigour: the electroacoustic transformations, the dialogue with Western classical forms, the microscopic attention paid to the behaviour of sound. Those elements are certainly there, but they risk obscuring something equally important. This is a remarkably funny album. After all, the opening track, “Horsing Around”, gives the game away immediately. Crude Walnut Taste is not funny in the sense of parody or quotation, but in the pleasure it takes in constantly wrong-footing the listener who might be expecting an academic work. A gesture suddenly changes direction, a rhythmic idea gathers momentum before being interrupted by an entirely different line of thought. Titles such as “Quasi Sonata-Allegro”, “Experimental, electro-accoustic, spatial audio, Georgian, sound design, Tbilisi, ambient – Adagio
Yara Mekawei and Amir Rezk ~ 33
Sep 25, 2026 · original
33 takes the traditional age of Christ at his death as the axis of a twelve-part electroacoustic cycle concerned with creation, incarnation, suffering, death and renewal. Yara Mekawei and Amir Rezk draw on biblical passages, Coptic Orthodox liturgy and Arabic recitation, but rarely allow the texts to remain intact: voices are repeated, stretched and submerged until scripture begins to function as rhythm and texture. Dense drones, fractured percussion, recitation and sudden clearings give the record a ceremonial character without turning it into devotional music. Its structure is particularly effective. “LOGOS” begins with John’s “In the beginning was the Word”; by “New Creation,” Revelation has replaced Genesis, with the first heaven and earth passing away and death itself disappearing. Between them, “Mysterion,” “33,” “Harrowing of Hades” and “Sackcloth Love” trace a passage through Euc
Arshan Najafi ~ Zenosyne
Sep 24, 2026 · original
Arshan Najafi ‘s Zenosyne takes its title from John Koenig’s neologism describing the unsettling sensation that time seems to accelerate as we grow older. The album focuses on the paradox behind that sensation. As Najafi explains in the accompanying interview, the music emerged from a period in which he felt psychologically frozen while time rushed relentlessly onwards. This tension between stillness and acceleration defines the album’s two long-form electroacoustic compositions. Built from live improvisations using a piezo microphone attached to an external hard drive alongside the sonification of raw digital data, Zenosyne makes surprisingly little ceremony of its unusual sound sources. The hard drive becomes another resonant object, its vibrations feeding a semi-generative system that Najafi actively steers. Algorithmic processes introduce an element of instability, but his interventi
Toni Geitani ~ Wahj
Sep 23, 2026 · original
Across its seventeen tracks, Wahj brings together electronics, industrial textures, processed strings, Arabic vocal traditions and fractured rhythms in combinations that keep changing shape. Individual elements remain recognisable without settling into familiar forms, while images of voice, disappearance, radiance and return recur throughout the album. Wahj took shape over five years, and the events of that period inevitably entered the music. As Toni Geitani explains in the accompanying interview, the album was not initially conceived as a meditation on collapse. The idea emerged gradually as the circumstances surrounding its composition changed. Collapse here is not a single catastrophic moment. Ruin exists alongside what persists, with Geitani attentive to the lives and voices that political violence can obscure. This runs through the lyrics as well as the music. Voices appear and dis
Tony Njoku ~ A World of Bodies on Fire
Sep 22, 2026 · original
Tony Njoku ‘s recent work has moved between open-ended instrumental composition and song. A WORLD OF BODIES ON FIRE continues this movement in a more intimate setting. Across four pieces, piano, synthesisers and space provide the foundations of the music. The title track establishes the EP’s sound through layers of synthesiser harmonies that gather pace but stop short of a conventional climax. “Streams and Storms” turns towards private reflection, while “The Quiet Chaos of Playing It Safe” holds onto its tension without seeking a dramatic release. “Etude No. 1” strips the music down again, bringing the record to a sombre close. As Njoku explains in the accompanying interview, his move away from language is connected to an interest in how music can communicate feelings before they have been organised into words. Grief, exhaustion and recovery remain unresolved, expressed through harmony,
Calum Builder ~ Although Changed, I Arise the Same
Sep 21, 2026 · original
A saxophonist by nature, Calum Builder couldn’t help but think of the brass instrument while salvaging old church organ pipes in Northern Denmark, regarding the organ as “another aerophone working with a different kind of breath.” Honoring the prophecy of his surname, he built a reconstructed organ portable enough to take on tour. Enlisting the aid of vocalists Johanna Sulkunen and Zola Mennenöh, he combines these sounds with fragment of psalms, creating a sound that is part palimpsest, part excavation. The opening tracks are each a quarter-hour in length, allowing the listener to dive deep into the waters of divinity. “Where Can I Go” takes its lead from Psalm 139 and pairs beautifully with Andrzej Pietrewicz & Haiyue Zhu’s #10 from last year. At first there are only forlorn taps and tones, a hint of flute, a sense of desolation: hot winds blowing across even hotter sand. The darker ton

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