Kreng is Belgian sound sculptor Pepijn Caudron, who is best known for providing music for the oft perverse, ritualistic, and unsettling work of the Abattoir Fermé theater company. Appropriately, this debut compilation of those recordings is otherworldly, creepy, darkly humorous, and riddled with portentous silences.
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This was never one of my favorite EN records. It followed the near perfect Tabula Rasa and at its center was the dreadfully too-long "NNNAAAMMM," which kept it from getting regular front-to-back plays in my house. But now upon revisiting the album due to its reissue, I'm surprised at how many of my favorite EN songs come from this underappreciated gem.
Former Black Dice member Eric Copeland has set out on his own off late, forging a highly unique sound that draws lines between pop, hip-hop, experimental and dance modes into an entrancing discourse on contemporary music culture. This, his second solo outing, further traces this at once nostalgic and futuristic musical approach ever deeper into the spaceways.
Brock Van Wey's Echospace debut is the first album to be released under his own name, but its content will not surprise anyone familiar with his previous ambient work as BVDub. It probably won't surprise anyone that this is a great album either: so much so, in fact, that Echospace head Stephen Hitchell was inspired to make an accompanying bonus album of his own reinterpretations. In this case it works, but I sure hope that does not become standard industry practice.
Ethan's third full-length takes inspiration from a roller rink and a Wurlitzer organ. Immersing himself in playing and repairing the pipe organ informs his updated sound manipulations with feeling for the older technology and balances melody with free-form flights. Oaks is alluring, impressionistic music that may prove to be a portal for those who have previously found such realms cold, shapeless and uninviting. 
The Sinking of the Titanic is a piece of music that is a lot more than notes arranged in a certain order. It is the perfect marriage of conceptual art, music and raw emotion. In this reissue of a 1990 performance (originally on Les Disques du Crépuscule), the conceptual side of the piece comes to the fore as Gavin Bryars and his ensemble perform in a water tower and push the piece for the first time well beyond the constraints of previous performances.
Recorded in 2006, this release looked like it would not see the light of day but thankfully these four Germans and Southern Records have come to their senses. While the EP is brief (only one 10 minute piece), this is another slice of brilliance from the same dark cavern that they have always mined for their music.
Mev 40 is an essential listening experience. The four discs of this set bring together eight tracks from seven performances spanning 40 years of Musica Elettronica Viva’s activity, from 1967 through 2007. In 1966 musical ideas were flowering in America and Europe. As American expatriates living in Rome they were steeped in the classical New Music scenes happening on each side of the Atlantic, as well the heavy spell cast by Free Jazz. Musica Elettronica Viva was a new hybrid that blossomed out of that fecund sound pool. Within their songs can be heard a zeitgeist that not only spans the decades, but an inclusive and intuitive impulse whose periphery extends far beyond the group and deep into audio culture at large.
A reissue of a legendary private press Brazilian psych record, this disc represents a welcome document of this too rarely heard classic. With a mellow fusing of psych, folk and plain great songwriting, the album provides a number of instantly memorable sides with subtle and pleasing idiosyncrasies keeping them afloat.
Since establishing their own small-run label to release their work, the duo behind Sutcliffe Jugend and Bodychoke have become extremely prolific, releasing multiple projects this year alone. While to some this could seem excessive and overindulgent, each release from Kevin Tomkins and Paul Taylor (as well as joint releases) have taken entirely different directions. These two releases are both vastly different: Loss is mostly just vocals and guitar (recorded over the span of two days), while Vocal Sound Collage is exactly what the title indicates.
