Vaellus 005

“I’d been looking into combining dream music with machine rhythms, but there are so many great examples out there of both music forms, so I started to cut up the drones and really filter the drum patterns to create a hybrid space.”

“a turbulent expression of inner-space, laid out in unflinching honesty, that offers gentle empathy and bitter-sweet hope.”

“that’s what I look for, these moments where you’re either stoned or tired or you don’t really know what’s going on. You’re like, Is this the music or am I hallucinating?”

“channelling a mix of rugged crud cut with grime licks tempered by more brooding emotive content that speaks to their various limbs and digits in power electronics, industrial, and reconstituted club styles”

“The ravers have forgotten that the night can end, and as the sun rises, they slowly turn to stone, or melt down to water, or they are in the middle of some other metamorphosis that is more than just coming down.”

“Facing down both intolerance and the void, the epic soundscapes of The Shameless Years are a vast cry of emotion from Irisarri. The clock is ticking – gotta make the most out of it while you still can”

“certainly references Boddy’s musical routes with its pulsating sequencer passages that hark back to the Berlin School sequencing of Tangerine Dream”

“Robert turned up with a truck load of amps and effects, two great big stacks including delay units with a 76 second delay and played and played and played.”

“Space Afrika make music of what they term “overlapping moments” – oblique mosaics of dialogue, rhythm, texture, and shadow, half-heard through a bus window on a rainy night. A sound both fogged and fragmented, at the axis of song craft and sound design, born from and for the yearning solitudes of life under lockdown.”

“I found direct correspondences between my internal discourse, its obsessive, frantic attempts at making sense of what I could not understand, and the music I was making, with motifs functioning as questions and answers, doubts and assertions.”

“Yoann employs loops and repetitive patterns, interwoven between drones and melodic elements, to create magical, transportative music with echoes of the classic Japanese ambient and New Age music of the Eighties and the trippy Kosmische of 1970s Germany”

“wrenches highly emotive textures utilising a blend of centuries-old chant styles and orchestration consisting of chamber strings, tape loops and plangent processed sounds.”

“There's such a strong level of personal rhythmic interaction inherent in electronic music, between audience and performer. And that's why the old, established, rockist narrative – that electronic music is less serious, less about the music, more about the drugs - is kind of unfair. I genuinely believe that it can be some sort of magic.”

“During the recording process he utilized both 20th century electronic techniques and western traditional annotation, forming layers of audio and written music that have been manipulated and transformed to form a symphonic geological soundscape.”

“The skittering hi-hat dominates. You think you are tuned in to it, but it’s creeping up on you unawares with each passing second, building to a crescendo until, by the time we are four minutes in, it is like a bombast. And then it descends and, as it does, one word resonates – 'Down'.”