I have historically had a complicated relationship with Michal Jacaszek's music, as I love his aesthetic and he consistently releases deeply immersive and intriguing albums, yet he has an uncanny knack for stylistic quirks that subjectively rub me the wrong way (harpsichords, a penchant for gloom and somberness, etc.).  Consequently, I was more or less just waiting around for an album to finally surface that was a bit more to my taste and KWIATY is that album. One one hand, Jacaszek mostly sticks to his familiar territory of dark, hiss-ravaged neo-classical fare, but the new twist is that he enlisted a trio of female vocalists to give voice to the metaphysical poetry of 17th century Englishman Robert Herrick.  While such a conceit admittedly sounds very arcane and high-concept on paper, it reveals itself to be quite beautiful in execution, often resembling an eerie, crackling, fractured, and otherworldly strain of dreampop.
Give us an hour, we'll give you music to remember. This week we bring you an episode with brand new music from Softcult, Jim Rafferty, karen vogt, Ex-Easter Island Head, Jon Collin, James Devane, Garth Erasmus, Gary Wilson, and K. Freund, plus some music from the archives from Goldblum, Rachel Goswell, Roy Montgomery. Rubber ducks and a live duck photo from Matthew in the UK. Get involved: subscribe, review, rate, share with your friends, send images!
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I am only a casual Wolf Eyes fan, so the bulk of their endless tide of releases passes by me unnoticed.  Every couple of years, however, they unleash something big to remind everyone that they are just as relevant as ever and continuing to tirelessly evolve.  The latest salvo in that vein is ostensibly this one, which also happens to be the inaugural release for the band's new Lower Floor Music imprint.  Stylistically, the two bookend pieces share a lot of common ground with the better moments of 2013's No Answer : Lower Floors, eschewing noise for something resembling deconstructed rock music that has gone sick and wrong.  When it sticks to that template, Undertow is quite good, but the more abstract and sketchlike material separating its two highlights makes for a somewhat uneven whole.
I have an unfortunate tendency to take Sarah Lipstate's work for granted, as if it is somehow not enough that she is one of the most distinctive and inventive solo guitarists currently active.  Part of that is her own fault, as she periodically produces work so beautiful and sublime that she transcends her role as guitarist and instead seems like one of the most compelling artists around.  Those are the moments that I am always chasing and I have not experienced one since the title piece on 2013's No Dreams.  Happily, Pink Sunset manages to floor me once more with "Deep Shelter."  There are a few other memorable moments on this solid and likeable album as well, but not quite enough to disabuse me of my belief that Lipstate is gradually accumulating the material for an absolutely stunning greatest hits album at a rate of one fresh masterpiece every few years.
For their first vinyl release, Rafael Femiano (guitars and electronics) and Felipe Pavon (drums and percussion) pulled out all of the stops on the most recent Oikos release. In this case, that metaphor may be a bit of a misnomer, since most of The Great Upheaval is much more about mood and ambience than full bore explosions of sound, although those feature here as well. The tasteful balance of the two, and the impeccable compositional structures, results in an album that is gripping in its intentional bleakness.
His last major release, Samoobrona (with Lukáš Jiřička) may have had Piotrowicz trying something rather different by scoring a radio play, but Walser is a step back into the conventional album format, even if it was originally intended as a score for the film of the same title. However, that motivation to try new things as far as instrumentation and composition goes (something that has been a distinct facet of his recent works) is not lost here. Electric and acoustic instruments blend together, making for perhaps his most diverse and complex work to date.
Part of the impetus of this three cassette compilation (by Wren Turco, who also contributes one of the tapes) was to showcase experimental electronic work by female artists that, not only often marginalized because of their gender, are also relatively new on the scene. With her, Gambletron, and NaEE RobERts, a wide spectrum of electronic art is presented, from Gambletron's more discordant abstraction, to Turco’s stripped down deconstructed techno, into NaEE RoBErts' more conventional song structures. All three tapes stand strongly on their own, but also compliment each other exceptionally well, making for a very strong compilation.
This is the debut release from the duo of Loscil's Scott Morgan and classically trained cellist Mark Bridges.  The pair met while at a residency in Alberta, then convened for two weeks of winter recording in renovated schoolhouse in Wyoming.  Consequently, High Plains is quite an apt name for this project, succinctly capturing both the windswept isolation of the region and the project's deeply melancholy aesthetic.  Being unfamiliar with Bridges, I expected High Plains to be a rather Loscil-esque endeavor, but the only truly significant similarity is that this album continues the bleak trajectory of Monument Builders: Cinderland mostly feels like a neo-classical soundtrack to an art film or perhaps like a stark and drone-damaged homage to Dirty Three.
Room40's excavation campaign of Norman Westberg’s wonderfully hypnotic and self-released solo guitar work continues with this 2014 tribute to the Westberg family dog. Notably, this release was already reissued once before (as an extremely limited vinyl edition by Hallow Ground), but this new incarnation is both remastered and expanded.  More notable still, Jasper Sits Out was the first of Westberg's homemade releases that Lawrence English ever heard, making it the album that inadvertently dragged this quietly beautiful facet of his artistry into the light.  As such, I half-expected Jasper to be a towering culmination of the entire reissue campaign, but it is more or less on the same level as all the consistently fine preceding releases (aside from one truly dazzling piece).
Elden M's recent resurgence as Allegory Chapel Ltd. has nary taken a pause since reappearing three years ago following an 18 year silence. What might be the most surprising fact, however, is that Without Tears: Noise in Theory & Practice is actually his first full length vinyl release since the project's inception in 1986, amidst a varied array of tapes and CDs. This fact obviously has not been lost on him though, because this album is a comprehensive and cohesive work that covers the full gamut of the ACL sound, from the past to the present, presenting a singular and unique artist and his diverse, complex output.
Iranian born, Austin raised artist Shawhin Izaddoost’s new release as VVV may, at least superficially, follow the hip-hop derived model of the mix tape as a collection of ideas and unfinished work, but that is not entirely accurate. Why El Paso Sky feels mostly like a fully polished and realized release. A combination of rich, complex ambient moments, vintage synth sequences, and strong beats are exceptionally well done on here, with a mix that captures both cerebral production and avant garde sounds with straight ahead physical rhythms and melodies.
