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Playlist 27.04.25
Well! Tonight is my last show for 6 weeks. I’ll be travelling in the UK & Europe, mostly touring with Black Aleph but with a bit of holiday time too.
While I’m away, each Sunday will be covered by excellent talented folks, in order: Holly Conner, Béla Hadju, Giulio Caleffi, Zoe Jungist, Lilly Grainger and Sophie Gordon & Krishtie Mofazzal.
Because I’m away, this has been taking me forever, so apologies for the wait – here it is now!
You can LISTEN AGAIN via stream on demand on the FBi website, or podcast here. While you’re there, LISTEN BACK also to the shows from my excellent colleagues.
SUMAC & Moor Mother – Scene 1 [Thrill Jockey/Bandcamp]
SUMAC & Moor Mother – Hard Truth [Thrill Jockey/Bandcamp]
Last year, alongside their remarkable, heavy-as-fuck album The Healer was released, sludgey hardcore supergroup SUMAC released an EP called The Keeper’s Tongue with two remixes: recent Wire Magazine cover star, Pulitzer Prize-winner Raven Chacon, and the brilliant avant-garde hip-hop/free jazz genius Moor Mother. And what a combo the latter was! SUMAC leader Aaron Turner was singer & guitarist with two of my favourite post-metal bands, ISIS and Old Man Gloom (the latter not in past tense), but SUMAC feels like his purest vision, engineered with precision along with the rhythm section of Baptists drummer Nick Yacyshyn and bassist Brian Cook of hardcore legends Botch and post-metal legends Russian Circles. Turner also ran the greatest metal/experimental label in the world, Hydra Head, and now has a smaller – impeccably curated – operation with his wife Faith Coloccia called SIGE. After the incendiary impact of that Moor Mother remix, it still came as a surprise to discover that this full album collab was just around the corner. The Film is one large work split into tracks, with as much (disquieting) quiet as crashing noise. And who but Moor Mother could compete with Aaron Turner’s roar? Poetic and deeply political, scathing about colonialism and capitalism, it’s incredibly powerful.
Violeta García & Hora Lunga – i think i just died a lil bit [-OUS/Bandcamp]
Violeta García & Hora Lunga – There’s Still Fun Stuff To Do [-OUS/Bandcamp]
Out from Swiss label -OUS is the debut duo album of Argentinian cellist Violeta García & Swiss musician Hora Lunga, I’ll wait for you in the car park. Their shared background in composition, improvisation and sonic experimentation led to this transformative music, in which clattering rhythms and distorted noise drones can come from the cello, electronics or field recordings. The album & track titles suggest a prosaic, distanced affect which is probably intentional, and the production does aim to undermine the performances – but if you’re here then you’re probably like me in loving deconstructed sounds, so this should be right up your alley.
Civilistjävel! x Mayssa Jallad – Holiday Inn (January to March) (Version) [Six of Swords/Ruptured/Six of Swords Bandcamp/Ruptured Bandcamp]
A couple of years ago, Beirut label Ruptured put out an amazing album by Lebanese singer/songwriter and researcher Mayssa Jallad called Marjaa: The Battle of the Hotels. In touching experimental songs, Jallad chronicled the beginning of the Lebanese Civil War in 1975, in which Christian Nationalists and pro-Palestinian leftists fought a violent battle amongst the high-rise hotels in Beirut, leading to the Green Line dividing the city, a rift that lasted for 15 years. The stunning album was picked up by burgeoning Bristol label Six of Swords, and given a co-released vinyl edition later in the year. Now the two labels are co-releasing a radical reworking of the material by Swedish producer Civilistjävel! (aka Tomas Bodén), into spectral pieces of dub techno and withered ambient. While the first single is out now, you can hear another collaboration between the artists on Civilistjävel!’s album Brödföda from last year.
Joy Moughanni – The Voice I’ve Yet To Understand [Ruptured/Bandcamp]
Ruptured also released two new albums on Friday. From Joy Moughanni, a sound engineer involved in Tunefork Studios in Beirut, comes a beautiful album of granular & taoe processed piano recordings made between 1975 & 1985 by Georges Tarazi, along with archival radio recordings which bring the music into conversation with Lebanon’s many upheavals, and adds layers of emotion to the historical audio. A Separation From Habit might be more deeply wrenching if you understand Arabic and know the last 50 years of Lebanese history, but it packs a punch regardless.
Claudia Khachan & Ziad Moukarzel – Gone beginnings [Ruptured/Bandcamp]
Claudia Khachan & Ziad Moukarzel – Spitfire 67 [Ruptured/Bandcamp]
The second Ruptured release this week is from Beirut artists Claudia Khachan and Ziad Moukarzel. It mostly came together when Moukarzel (part of the Beirut Synth Center) was travelling while Khachan remained in Lebanon, so Khachan’s vocals float untethered over a morass of Moukarzel’s electronics (as well as Khachan’s guitar & organ). And while the glitchy textures share an aesthetic with Joy Moughann’s release, partway through the last track a jittery drum break coughs into motion as if we’ve suddenly found ourselves at a rave… and then it peters out again.
Both these releases are strangely hypnotic, and handily demonstrate why I’m such a fan of the Ruptured label.
Raf Reza – Cry Of The Baul [Telephone Explosion/Bandcamp]
Toronto-based producer Raf Reza has released his debut full-length album Ekbar, which showcases his Bangladeshi heritage mixed in with music influenced by soundsystem culture – dub through to jungle. South Asian musicians have been central to bass music scenes in the UK, so it’s nice seeing a Canadian artist picking up on this too. Reza wanders through various bass music styles, but the dub aesthetic is never far away.
Moa Pillar – Ballroom [ПИР/Bandcamp]
Once Moscow-based, Fedor Pereverzev aka Moa Pillar now lives in London – for reasons that should be obvious (“FUCK THE WAR” reads the description on the Bandcamp of his label ПИР / Peer). His music is a mix of spacious ambient and high-intensity club sounds. There’s a somewhat anxious sense of motion, as Pereverzev’s constant movement – movement away, if not towards a known destination – took him to a small space in East London.
Eter Dex – deadn ess nouns [Hundebiss Records/Bandcamp]
Somehow Italian label Hundebiss Records has a knack for finding unusual music with a strange relationship to club styles. This includes artists from across the Mediterranean in Egypt, like Abdullah Miniawy and Assyouti, but has also included Hype Williams and Aaron Dilloway in the past. Eter Dex (or sometimes Eternal Index) is a fellow Italian making strange translations of percussive techno. On the opening track “deadn ess nouns” the beats cycle around pitch-shifted, processed words from Australian poet & experimental musician Amanda Stewart (co-founder of groundbreaking sound-art/poetry/free improv group Machine For Making Sense). I think it may be this piece, although it’s rendered (more) unintelligible.
Skee Mask – LCC Rotation [Ilian Tape/Bandcamp]
The Munich producer known as Skee Mask has a distinct style of sound production that’s his own whether he’s making techno, downtempo beats or jungle-influenced tunes. His releases, usually on the also Munich-based Ilian Tape, can be relied upon for airy production, acid squiggles, ambient interludes and funky beats of all sorts, and his breakbeat technique is first class, as heard on this track from his new EP Stressmanagement.
Djrum – Let Me [Houndstooth/Bandcamp]
Felix Manuel aka Djrum is also a reliable producer, although what he can be relied upon for is surprise: constantly changing things up, from jazzy/classical piano, cello and wind instruments to techno, jungle, dancehall, dubstep and anything in between. While Under Tangled Silence represents a kind of renewal for Manuel (not least because the first version of the album was lost in a hard drive crash), it’s really got all the elements established on his early 12″s and previous brilliant album Portrait With Firewood. With Djrum “more of the same” is the highest of praise – and nothing is ever quite the same with him.
Lila Tirando a Violeta – Retumba en tu Piel [Unguarded/Bandcamp]
The latest album from Uruguayan producer Lila Tirando a Violeta comes via Berlin label Unguarded. Apparently Dream of Snakes comes from a recurring dream of Lila’s, literally about snakes, somehow mixed in with her experiences moving from the Netherlands to Ireland, which despite the subject matter was strangely comforting. I’m not sure if the same can be said of the album, which continues the producer’s work in post-industrial, post-IDM bass music, mashing up Latin rhythms with the breakbeats and drum machines, with irruptions of vocals within synthscapes and sample collages. It’s the futuristic music of the present.
Andrey Kiritchenko – Movement II [Flaming Pines/Bandcamp]
It’s lovely to hear so much new music from Ukrainian electronic icon Andrey Kiritchenko at the moment, who’s worked across IDM, glitch and forms of experimental electronic pop for over 20 years (around as long as Utility Fog’s been on-air in fact!) In contrast with the dancefloor-aimed breakbeats & bass on the Rust Trust EP coming from POLAAR in June, Ultra Marshes is a project tailor-made for Flaming Pines, the label run by Aussie ex-pat out of London, where Kiritchenko is also currently based. Its four movements and prologue are a celebration of the Hackney Marshes, a piece of public parkland in east London, so even though it’s resolutely electronic music, it’s deep connected to a sense of place – and it warmly pays tribute to a place that welcomes people of all stripes. The pulsating electronics and shifting harmonies are gorgeously enveloping and I could listen to them for hours.
Anysia Kym & Loraine James – shy (interlude) [10K/Bandcamp]
Here the very versatile London producer Loraine James, best known for her IDM-influenced dance music, extends on some of the more pop/r’n’b elements of her solo work with a short EP in collaboration with NYC vocalist, drummer and beat-maker Anysia Kym. These hazy, hazy songs are really short vignettes in glitchy style – the shortest’s under a minute, and only one tops 3 minutes – which bears the hallmarks of both artists in every bar. Clandestine indeed.
Nazar – War Game [Hyperdub/Bandcamp]
When Nazar first burst upon the electronic music scene, his music was reflective of the violent reality of his home country Andorra over 27 years of government repression and civil war, “weaponising” the sounds of conflict within the music he dubbed “rough kuduro”. On his second album Guerrilla he directly addressed the conflict through his family’s experience, including his father who was a Rebel General. Five years later comes Demilitarize, both the name and the delay imply the intervening events, in which Nazar was significantly weakened from a bout of Covid that allowed latent tuberculosis to overcome his body. The previous violence here is lost in a haze, with dreamy vocals hidden in undefined textures, the beats also often nearly lost. It’s an audacious change, beautifully done.
Jerome Blazé – Living Room (with Zion Garcia) [Jerome Blazé Bandcamp]
Eora/Sydney musician Jerome Blazé is engaged with music across multiple dimensions: as a producer, live keyboardist, songwriter and academic. Last year’s Living Room album was a home-recorded album combining influences from soul, neo-classical and dance music. The album put collaboration up-front, with instrumental and vocal collaborators from across the Sydney music scene as well as songwriting collaborations and a fully-credited list of sampled artists (and birds!) taking in local friends and international influences like BADBADNOTGOOD, Punch Brothers, Al Green and more. The album’s being given a vinyl deluxe edition this year, expanded through reworkings of each track (which he seems to be doing in reverse order) that open up his music to deeper collaborations. So here’s an adaptation of the title track featuring the versatile Zion Garcia.
Passepartout Duo – From Belgrade [Passepartout Duo Bandcamp]
The peripatetic pair of musician/inventors Passepartout Duo have been based in Sydney for the past few months (Parramatta to be precise), and are releasing a 12-track, year-long album called Pieces From Places with each track showcasing one location of their ever-continuing global residencies. “From Belgrade” comes across almost like Tortoise-style postrock, with its shuffling 12/8 groove and sparing amounts of slowly-drawn-out melody.
Stefan Goldmann – Builders [Macro/Bandcamp]
Berlin’s Stefan Goldmann co-founded the excellent Macro label, and is well-known for his techno productions and his association with Berghain and its Panorama Bar, although meanwhile his electronic productions have gotten ever-more experimental, stretching into unorthodox harmonic systems and exotic mathematical rhythm science. His Dad Friedrich Goldmann was a renowned composer & conductor, and Goldmann also has a thread of mostly-beatless avant-garde live performances – site-specific works, the latest of which was made for Istanbul’s Borusan Müzik Evi. This music was sparked from Goldmann’s fellowship at Tarabya Cultural Academy in Istanbul, and flows through a variety of evolving textures, including the pulsating synth blurts of “Builders”.
Ava Rabiat – The End [FUU/Bandcamp]
FUU is a label/collective of visual & audio artists in Berlin including Ah! Kosmos, Büşra Kayıkçı & Hara Alonso – three women who’ve featured on this show relatively recently. To them is now added Ava Rabiat, who sings and speak-sings in her native Polish. On Elektro Erotyk she creates mysterious, minimalist, glitchy post-cabaret numbers, distorted and stretched though they may be.
Siavash Amini – Stilla [Room40/Bandcamp]
Coming on July 11th is a new album from brilliant Iranian sound-artist Siavash Amini, returning once more to Meanjin/Brisbane’s Room40. On Caligo he’s in dialogue with some old, mysterious piano recordings from Iran – Amini doesn’t give us much more info about these recordings, but they’re fed into some pretty intense processing. At times the piano source is obvious, at other times it’s distorted and twisted into new, anguished forms. There’s an emotional depth to Amini’s work which makes it compulsive/compulsory listening.
Gregory Paul Mineeff – Acceptance [Cosmic Leaf/Bandcamp]
On his latest album, Exhumed, Wollongong-based artist Gregory Paul Mineeff uses his substantial sound & composition skills towards an ambient music with some anxious emotions around the edges – at least until “Acceptance”, which closes the album and this show with some comforting felted piano.
Listen again — ~206MB
View all episodes
By Peter HolloWell! Tonight is my last show for 6 weeks. I’ll be travelling in the UK & Europe, mostly touring with Black Aleph but with a bit of holiday time too.
While I’m away, each Sunday will be covered by excellent talented folks, in order: Holly Conner, Béla Hadju, Giulio Caleffi, Zoe Jungist, Lilly Grainger and Sophie Gordon & Krishtie Mofazzal.
Because I’m away, this has been taking me forever, so apologies for the wait – here it is now!
You can LISTEN AGAIN via stream on demand on the FBi website, or podcast here. While you’re there, LISTEN BACK also to the shows from my excellent colleagues.
SUMAC & Moor Mother – Scene 1 [Thrill Jockey/Bandcamp]
SUMAC & Moor Mother – Hard Truth [Thrill Jockey/Bandcamp]
Last year, alongside their remarkable, heavy-as-fuck album The Healer was released, sludgey hardcore supergroup SUMAC released an EP called The Keeper’s Tongue with two remixes: recent Wire Magazine cover star, Pulitzer Prize-winner Raven Chacon, and the brilliant avant-garde hip-hop/free jazz genius Moor Mother. And what a combo the latter was! SUMAC leader Aaron Turner was singer & guitarist with two of my favourite post-metal bands, ISIS and Old Man Gloom (the latter not in past tense), but SUMAC feels like his purest vision, engineered with precision along with the rhythm section of Baptists drummer Nick Yacyshyn and bassist Brian Cook of hardcore legends Botch and post-metal legends Russian Circles. Turner also ran the greatest metal/experimental label in the world, Hydra Head, and now has a smaller – impeccably curated – operation with his wife Faith Coloccia called SIGE. After the incendiary impact of that Moor Mother remix, it still came as a surprise to discover that this full album collab was just around the corner. The Film is one large work split into tracks, with as much (disquieting) quiet as crashing noise. And who but Moor Mother could compete with Aaron Turner’s roar? Poetic and deeply political, scathing about colonialism and capitalism, it’s incredibly powerful.
Violeta García & Hora Lunga – i think i just died a lil bit [-OUS/Bandcamp]
Violeta García & Hora Lunga – There’s Still Fun Stuff To Do [-OUS/Bandcamp]
Out from Swiss label -OUS is the debut duo album of Argentinian cellist Violeta García & Swiss musician Hora Lunga, I’ll wait for you in the car park. Their shared background in composition, improvisation and sonic experimentation led to this transformative music, in which clattering rhythms and distorted noise drones can come from the cello, electronics or field recordings. The album & track titles suggest a prosaic, distanced affect which is probably intentional, and the production does aim to undermine the performances – but if you’re here then you’re probably like me in loving deconstructed sounds, so this should be right up your alley.
Civilistjävel! x Mayssa Jallad – Holiday Inn (January to March) (Version) [Six of Swords/Ruptured/Six of Swords Bandcamp/Ruptured Bandcamp]
A couple of years ago, Beirut label Ruptured put out an amazing album by Lebanese singer/songwriter and researcher Mayssa Jallad called Marjaa: The Battle of the Hotels. In touching experimental songs, Jallad chronicled the beginning of the Lebanese Civil War in 1975, in which Christian Nationalists and pro-Palestinian leftists fought a violent battle amongst the high-rise hotels in Beirut, leading to the Green Line dividing the city, a rift that lasted for 15 years. The stunning album was picked up by burgeoning Bristol label Six of Swords, and given a co-released vinyl edition later in the year. Now the two labels are co-releasing a radical reworking of the material by Swedish producer Civilistjävel! (aka Tomas Bodén), into spectral pieces of dub techno and withered ambient. While the first single is out now, you can hear another collaboration between the artists on Civilistjävel!’s album Brödföda from last year.
Joy Moughanni – The Voice I’ve Yet To Understand [Ruptured/Bandcamp]
Ruptured also released two new albums on Friday. From Joy Moughanni, a sound engineer involved in Tunefork Studios in Beirut, comes a beautiful album of granular & taoe processed piano recordings made between 1975 & 1985 by Georges Tarazi, along with archival radio recordings which bring the music into conversation with Lebanon’s many upheavals, and adds layers of emotion to the historical audio. A Separation From Habit might be more deeply wrenching if you understand Arabic and know the last 50 years of Lebanese history, but it packs a punch regardless.
Claudia Khachan & Ziad Moukarzel – Gone beginnings [Ruptured/Bandcamp]
Claudia Khachan & Ziad Moukarzel – Spitfire 67 [Ruptured/Bandcamp]
The second Ruptured release this week is from Beirut artists Claudia Khachan and Ziad Moukarzel. It mostly came together when Moukarzel (part of the Beirut Synth Center) was travelling while Khachan remained in Lebanon, so Khachan’s vocals float untethered over a morass of Moukarzel’s electronics (as well as Khachan’s guitar & organ). And while the glitchy textures share an aesthetic with Joy Moughann’s release, partway through the last track a jittery drum break coughs into motion as if we’ve suddenly found ourselves at a rave… and then it peters out again.
Both these releases are strangely hypnotic, and handily demonstrate why I’m such a fan of the Ruptured label.
Raf Reza – Cry Of The Baul [Telephone Explosion/Bandcamp]
Toronto-based producer Raf Reza has released his debut full-length album Ekbar, which showcases his Bangladeshi heritage mixed in with music influenced by soundsystem culture – dub through to jungle. South Asian musicians have been central to bass music scenes in the UK, so it’s nice seeing a Canadian artist picking up on this too. Reza wanders through various bass music styles, but the dub aesthetic is never far away.
Moa Pillar – Ballroom [ПИР/Bandcamp]
Once Moscow-based, Fedor Pereverzev aka Moa Pillar now lives in London – for reasons that should be obvious (“FUCK THE WAR” reads the description on the Bandcamp of his label ПИР / Peer). His music is a mix of spacious ambient and high-intensity club sounds. There’s a somewhat anxious sense of motion, as Pereverzev’s constant movement – movement away, if not towards a known destination – took him to a small space in East London.
Eter Dex – deadn ess nouns [Hundebiss Records/Bandcamp]
Somehow Italian label Hundebiss Records has a knack for finding unusual music with a strange relationship to club styles. This includes artists from across the Mediterranean in Egypt, like Abdullah Miniawy and Assyouti, but has also included Hype Williams and Aaron Dilloway in the past. Eter Dex (or sometimes Eternal Index) is a fellow Italian making strange translations of percussive techno. On the opening track “deadn ess nouns” the beats cycle around pitch-shifted, processed words from Australian poet & experimental musician Amanda Stewart (co-founder of groundbreaking sound-art/poetry/free improv group Machine For Making Sense). I think it may be this piece, although it’s rendered (more) unintelligible.
Skee Mask – LCC Rotation [Ilian Tape/Bandcamp]
The Munich producer known as Skee Mask has a distinct style of sound production that’s his own whether he’s making techno, downtempo beats or jungle-influenced tunes. His releases, usually on the also Munich-based Ilian Tape, can be relied upon for airy production, acid squiggles, ambient interludes and funky beats of all sorts, and his breakbeat technique is first class, as heard on this track from his new EP Stressmanagement.
Djrum – Let Me [Houndstooth/Bandcamp]
Felix Manuel aka Djrum is also a reliable producer, although what he can be relied upon for is surprise: constantly changing things up, from jazzy/classical piano, cello and wind instruments to techno, jungle, dancehall, dubstep and anything in between. While Under Tangled Silence represents a kind of renewal for Manuel (not least because the first version of the album was lost in a hard drive crash), it’s really got all the elements established on his early 12″s and previous brilliant album Portrait With Firewood. With Djrum “more of the same” is the highest of praise – and nothing is ever quite the same with him.
Lila Tirando a Violeta – Retumba en tu Piel [Unguarded/Bandcamp]
The latest album from Uruguayan producer Lila Tirando a Violeta comes via Berlin label Unguarded. Apparently Dream of Snakes comes from a recurring dream of Lila’s, literally about snakes, somehow mixed in with her experiences moving from the Netherlands to Ireland, which despite the subject matter was strangely comforting. I’m not sure if the same can be said of the album, which continues the producer’s work in post-industrial, post-IDM bass music, mashing up Latin rhythms with the breakbeats and drum machines, with irruptions of vocals within synthscapes and sample collages. It’s the futuristic music of the present.
Andrey Kiritchenko – Movement II [Flaming Pines/Bandcamp]
It’s lovely to hear so much new music from Ukrainian electronic icon Andrey Kiritchenko at the moment, who’s worked across IDM, glitch and forms of experimental electronic pop for over 20 years (around as long as Utility Fog’s been on-air in fact!) In contrast with the dancefloor-aimed breakbeats & bass on the Rust Trust EP coming from POLAAR in June, Ultra Marshes is a project tailor-made for Flaming Pines, the label run by Aussie ex-pat out of London, where Kiritchenko is also currently based. Its four movements and prologue are a celebration of the Hackney Marshes, a piece of public parkland in east London, so even though it’s resolutely electronic music, it’s deep connected to a sense of place – and it warmly pays tribute to a place that welcomes people of all stripes. The pulsating electronics and shifting harmonies are gorgeously enveloping and I could listen to them for hours.
Anysia Kym & Loraine James – shy (interlude) [10K/Bandcamp]
Here the very versatile London producer Loraine James, best known for her IDM-influenced dance music, extends on some of the more pop/r’n’b elements of her solo work with a short EP in collaboration with NYC vocalist, drummer and beat-maker Anysia Kym. These hazy, hazy songs are really short vignettes in glitchy style – the shortest’s under a minute, and only one tops 3 minutes – which bears the hallmarks of both artists in every bar. Clandestine indeed.
Nazar – War Game [Hyperdub/Bandcamp]
When Nazar first burst upon the electronic music scene, his music was reflective of the violent reality of his home country Andorra over 27 years of government repression and civil war, “weaponising” the sounds of conflict within the music he dubbed “rough kuduro”. On his second album Guerrilla he directly addressed the conflict through his family’s experience, including his father who was a Rebel General. Five years later comes Demilitarize, both the name and the delay imply the intervening events, in which Nazar was significantly weakened from a bout of Covid that allowed latent tuberculosis to overcome his body. The previous violence here is lost in a haze, with dreamy vocals hidden in undefined textures, the beats also often nearly lost. It’s an audacious change, beautifully done.
Jerome Blazé – Living Room (with Zion Garcia) [Jerome Blazé Bandcamp]
Eora/Sydney musician Jerome Blazé is engaged with music across multiple dimensions: as a producer, live keyboardist, songwriter and academic. Last year’s Living Room album was a home-recorded album combining influences from soul, neo-classical and dance music. The album put collaboration up-front, with instrumental and vocal collaborators from across the Sydney music scene as well as songwriting collaborations and a fully-credited list of sampled artists (and birds!) taking in local friends and international influences like BADBADNOTGOOD, Punch Brothers, Al Green and more. The album’s being given a vinyl deluxe edition this year, expanded through reworkings of each track (which he seems to be doing in reverse order) that open up his music to deeper collaborations. So here’s an adaptation of the title track featuring the versatile Zion Garcia.
Passepartout Duo – From Belgrade [Passepartout Duo Bandcamp]
The peripatetic pair of musician/inventors Passepartout Duo have been based in Sydney for the past few months (Parramatta to be precise), and are releasing a 12-track, year-long album called Pieces From Places with each track showcasing one location of their ever-continuing global residencies. “From Belgrade” comes across almost like Tortoise-style postrock, with its shuffling 12/8 groove and sparing amounts of slowly-drawn-out melody.
Stefan Goldmann – Builders [Macro/Bandcamp]
Berlin’s Stefan Goldmann co-founded the excellent Macro label, and is well-known for his techno productions and his association with Berghain and its Panorama Bar, although meanwhile his electronic productions have gotten ever-more experimental, stretching into unorthodox harmonic systems and exotic mathematical rhythm science. His Dad Friedrich Goldmann was a renowned composer & conductor, and Goldmann also has a thread of mostly-beatless avant-garde live performances – site-specific works, the latest of which was made for Istanbul’s Borusan Müzik Evi. This music was sparked from Goldmann’s fellowship at Tarabya Cultural Academy in Istanbul, and flows through a variety of evolving textures, including the pulsating synth blurts of “Builders”.
Ava Rabiat – The End [FUU/Bandcamp]
FUU is a label/collective of visual & audio artists in Berlin including Ah! Kosmos, Büşra Kayıkçı & Hara Alonso – three women who’ve featured on this show relatively recently. To them is now added Ava Rabiat, who sings and speak-sings in her native Polish. On Elektro Erotyk she creates mysterious, minimalist, glitchy post-cabaret numbers, distorted and stretched though they may be.
Siavash Amini – Stilla [Room40/Bandcamp]
Coming on July 11th is a new album from brilliant Iranian sound-artist Siavash Amini, returning once more to Meanjin/Brisbane’s Room40. On Caligo he’s in dialogue with some old, mysterious piano recordings from Iran – Amini doesn’t give us much more info about these recordings, but they’re fed into some pretty intense processing. At times the piano source is obvious, at other times it’s distorted and twisted into new, anguished forms. There’s an emotional depth to Amini’s work which makes it compulsive/compulsory listening.
Gregory Paul Mineeff – Acceptance [Cosmic Leaf/Bandcamp]
On his latest album, Exhumed, Wollongong-based artist Gregory Paul Mineeff uses his substantial sound & composition skills towards an ambient music with some anxious emotions around the edges – at least until “Acceptance”, which closes the album and this show with some comforting felted piano.
Listen again — ~206MB
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