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Jazzrausch Bigband stands for a truly unique concept: jazz meets techno meets big band.

After the powerful, song-like album ‘techné’ from 2021, which featured a cast of prominent musical guests, new release ‘Emergenz’ focuses on the core line-up of the band. And a more subtle, yet broader approach, which incorporates elements of minimal music, drum & bass, literature and stronger jazz influences without giving up the
trademark of the band; pulsating grooves and powerful horn arrangements.

When comparing ‘Emergenz’ with earlier albums, what is most striking is how the band’s expressive palette has become even more differentiated and refined. The moments when the energy levels are
at their highest are still dominated by techno jazz, which is only to be expected, but, in between, the regular four-on-the-floor pulse of the bass drum is increasingly suspended, so there are sections
where the forward momentum comes from intricate interlocked horn parts, or just voices.

Living In Clip (25th Anniversary Edition) Newly remastered for vinyl + cd in deluxe packaging. This landmark double album by Ani DiFranco, features her trio from 1995-1996 with Andy Stochansky (drums) and Sara Lee (bass). Twenty-five years later the album is recognized as a point of entry that radically expanded DiFranco’s audience, and a historically important testament to the relationship between Ani as a live performer and the devoted community she created with her fans. If there was ever a record to help you pull through until the next time the Folksinger makes her way to your town, Living In Clip is the one. Affectionately named after the state of stage amps about to blow out, the record is constructed like a show complete with the onstage humor and antics we love. The culmination of years of studio work and constant touring, Living In Clip is a tour in itself: nearly two-dozen venues provide the atmosphere for over two hours of music complete with intermission and encore. Recorded straight from the soundboard on an 8 track ADAT, digital videotape and mixed by Ani and Andrew Gilchrist – Living In Clip is conceptually designed to preserve the authenticity and pulse of a live show. There are jazzy folkalicious renditions of "Letter to A John," "Fire Door," "Diner" and "Anticipate." Amusing and sweet snippets are interwoven throughout the songs and sometimes during them - "Out of Habit" harbors a little cinematic glimpse into Ani's first days in New York City. This dynamic collection also offers The Buffalo Philharmonic Orchestra playing on "Both Hands" and "Amazing Grace" at a hockey arena as well as a phenomenal version of "Shy," that was nominated for a Grammy for Best Rock Vocal Performance – Female (or whatever). Living In Clip is also considered one of Rolling Stone Magazine's essential albums of the 90's. Living In Clip includes a beautiful photo gallery that contains pictures of the sparkling faces, questionable attire and unique persons behind the road show.

Lasse Marhaug is one of those characters that operates at the nexus of so much stuff that’s important to us here - working as a producer (over the last couple of years alone he’s helped shape albums by Jenny Hval, Kelly Lee Owens, Okkyung Lee, Hillary Woods etc etc), a mastering engineer (far too many releases to mention), a prolific sleeve designer (likewise), publisher (his occasional Personal Best magazine is still going strong) and, perhaps most importantly - a recording artist in his own right. ‘Context’ is his most substantial release in years - a crushing assembly of bone-dry/darkside drone/machine malfunctions that’s bursting with a visceral, throbbing, mass of feeling. If yr into anything on the spectrum from Mika Vainio to Grouper to Kevin Drumm or Deathprod - this one’s as good as it gets

Over almost three decades of activity, Marhaug has carved out notoriety as a solo performer, a prolific collaborator (working with everyone from Sunn O))) to Jim O'Rourke) and as a busy producer, who's notched up credits on some of the most striking-sounding albums of the last few years. This new album was created as a swan song for the infamous Oslo studio that he's inhabited for 17 years, prior to his move back to the Arctic Circle where he originally came from. Recorded over a 14-month period and painstakingly edited from hours upon hours of material, it might just be the most impressive, moving record we’ve heard from him so far.

The interplay between piercing softness and deafening noise is the key to "Context", displaying a philosophy Marhaug has been exploring for years. Few other artists are able to balance chaos and harmony with such ease; Marhaug does it without grandstanding, it's music that sounds as simultaneously beautiful and as daunting as the Arctic landscape he's returning to. At any moment a sound can be alluring or treacherous, like the frozen sun reflecting on a snowy mountaintop. Marhaug's deftness with rhythm and bass emerges on 'Context 3', as he pairs Vainio-esque low-end pulses with crumpled noise and widescreen tones; as disquieting music-box chimes absorbed into the blasted soundscape on 'Context 5', while we're thrust into the freezing cold on 'Context 6', subjected to punctuating gusts of white noise and trapped string loops.

Trust it’s a rare and near-mythical beast, conjuring vast, treacherous soundscapes illuminated with pangs of sentiment that naturally weave strands of his non-musical practice in their psychosensual lustre and gritty attrition. As he steps into a new phase of his career, we're left with a concluding chapter that stands as a summation and open-ended post-credits reveal.

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Fathersong is Rick Bull's eighth album release under his Deepchild moniker, arriving 10 years after the former Berliner's Neukölln Burning album (Thoughtless Music). Exploring a shimmering post-dub vista, rich in granular textures, Fathersong draws influence and inspiration from contemporaries like Fennesz, Tim Hecker, Burial and Vladislav Delay. Unshackled from the percussive undertow of previous albums, the album's palette nonetheless displays the familiar, sensual pulse of Bull's musical aesthetic.

Nearly 20 years ago, Karl Sanders – the founder, principal songwriter, and driving creative force behind the exotic, devastatingly heavy stylings of American extreme death metal icons Nile – forayed from his metallic leanings to serve listeners with a transfixing dose of the cinematic, meditative, world music-driven Saurian Meditation (2004). The album explores highly original compositions of hypnotizing, primarily Middle Eastern inspired music, featuring the unique inclusion of instruments such as the balagma saz (Turkish lute) and Glissentar, often blended with dark electronic ambience and deft electric guitar work. Saurian Meditation marked the beginning of Sanders’ Saurian journey, being the first of now three Saurian releases. From the haunting first notes of “Awaiting the Vultures”, which dreamily conjures images of traversing through the dark, mysterious halls of an abandoned ancient temple, to the slithering, percussion-driven pulses and searing electric solos on the ominous album closer “Beckon the Sick Winds of Pestilence” – Saurian Meditation provides a diverse escape for both fans of Nile and the outer realms beyond. Thematically centered around its acoustically-driven, spellbinding seventh track, “Dreaming Through the Eyes of Serpents”, the album ebbs and flows from a higher, rhythmic consciousness to a darker, hypnotic inner balance, achieving a Reptilian Theta State of deep meditation. Saurian Meditation launches the multi-dimensional Saurian universe – witness the very first, transcendental solo output by Karl Sanders, available for the very first time on vinyl, as well as in CD and digital formats, via Napalm Records!

Acid Rooster were described by ‘Le Guess Who Festival’ as a ‘wet dream for heads who cram their record collection with Amon Düül, Spacemen 3, Wooden Shjips, Tangerine Dream’ – a statement we wholeheartedly endorse.

Ad Astra was recorded live in July 2020 in a private garden with a field recorder in front of a small audience of friends during the lockdown in the middle of the corona pandemic. The two long jams were the opening and the closing track of a completely improvised concert and are a spontaneous snapshot of Acid Roosters approach to free floating consciousness expanding psychedelic music.
So 2 tracks and 46 minutes of Acid Rooster digging deep into the well of far-out psychedelic rock that is one mind-expanding journey to the innermost limits of your mind.

Zu den Sternen was the intro and is a slow-burn trip where you ride wave upon wave of ecstatic highs until you eventually hit the peak in freak out territory as Acid Rooster merge with the cosmos and then ride the golden afterglow home into an eternal locked groove.

Phasenschieber rides that afterglow of galactic intensity – a place where you can just let go as the music created drifts and pulses away. It is a Beautiful, hypnotic, spaced out, blissful state where Acid Rooster takes you beyond the Astral Planes.
Released by Cardinal Fuzz (UK), Sunhair Music (EU) and Little Cloud Records (US) in an edition of 600 (300 x Galaxy and 300 x Black)
Artwork by our beloved Chris Kröber

The second volume in a two-part collection of pirate radio adverts & idents, taken from recordings of London stations between 1984 & 1993.

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Mexican sound artist Concepción Huerta is also a skilled photographer and video artist, and all of these aptitudes come together in the kinematic elements of her musical thesis. Her narrative seems to be an uninterrupted communication with movement as an axis: it pauses and falls with cadence at some moments; it agitates in disturbance at some others. But one movement perpetually crosses the other, even if sometimes imperceptibly.

Her sound work evokes displacements similar to what we could understand as a force of zero gravity. Taking this criterion as a backbone of her most recent work, the idea behind Harmonies from Betelgeuse focuses on the transmission of electricity between body and machine, between the organic and the inorganic. ––Strong loads of sound pulses move away from Earth's gravity through tape-manipulation. Betelgeuse is a star that belongs to the Orion constellation, but, since it has been expelled from its stellar association, it is considered a fugitive ––An exile. Harmonies from Betelgeuse is composed of eight pieces built as a whole, accompanying and destroying each other like theatrical parts of a cosmic tragedy. A beautiful analogy about impending extinction and exile.

Mastered by Rafael Anton Irisarri
Photos by Mateo Barbuzzi, design by Daniel Castrejón

During the summer of 2020, SACRILEGA burst from the void with their debut EP, Rites of Macabre. Although a brand-new entity, the Californian power-trio features members currently aligned with Rites of Thy Degringolade, Impure Consecration, and Invocation War among others. As such, it was not surprising that that their Impious Death Metal worship was so powerful and punishing this early on. However, SACRILEGA are set to eclipse those not-inconsiderable expectations with their full-length debut, The Arcana Spear. Recorded at Ramona Studio with Charlie Koryn, SACRILEGA's debut album is a veritable firestorm of finessed fury - malice, malevolence, and mesmerizing visions writ large across throttling death metal songwriting both classic and contemporary. Driving that propulsion is underground drum-god Paulus Kressman, whose veritable eight octopus arms create a dizzying, dread-inducing landscape for his bandmates to slay with their razor-wire strings. Their songwriting always pushes forward with a near-bestial pulse that cannot be denied; still, attention is duly paid to detail within riffing and atmosphere alike, elevating The Arcane Spear beyond a mere exercise in ultraviolence. SACRILEGA thus locate that elusive balance between the cunningly precise and rabidly maximal, placing due emphasis on the songwriting itself and allowing the execution to tell the grandiose-yet-doomed tales it so requires. Featuring suitably stark-yet-grandiose artwork courtesy of Artem Grigoryev, SACRILEGA deliver one of death metal's most stunning debuts with The Arcana Spear. Embrace the grand tyranny!

‘Raiz’, the first release on the OITO//OITO Discos label, draws the musical focus towards the sound archives of Michel Giacometti, a French ethnomusicologist who dedicated his life to studying the oral traditions of Portugal which had become either lost or forgotten, with his collections still exhibited today in the Museum of Portuguese Music in Estoril. As with their previous releases, the duo carefully manage the source material and interweave it with their Acid House undertones, with both the original cuts ‘Ceifeiras’ and ‘A Poda’ doing a beautiful job at merging the powerful vocals with driving bass lines and rhythms. The opener in particular has a deep mysticism to it, the vocals leading the line as razor sharp pads craft a pulse alongside a steady but powerful drum structure. ‘A Poda’ takes things in a trippy-er direction, with the vocals stretched out in that prog house style that keeps the mind ticking over and the body left to its own devices. The breakdowns in this track are very effective, and really portray the soul of the original vocal performance and allow for the listener to connect with the wider feeling being conveyed. On the flip, the duo asked producers Switchdance and Terra Chã to put their spin on ‘Ceifeiras’, and the results only add to the atmosphere. Switchdance takes things down into murky depths, with a low slung beat expertly interspersed with driving bass notes, as sweeping chordal lines meander up above, giving a whole new angle to the original and winning over our hearts. Terra Chã’s version injects some swing into proceedings, with looping chordal stabs pulsating through the middle along with some beautiful melodic additions that exalt and inspire in equal measure.
Balanced, referential, blissful, dynamic. All this, and more, feature heavily on the first edition of OITO//OITO Discos, so why not come along and meander through time and space – it’s worth the trip…

White Vinyl

Remastered reissue of Het Zweet's 1987 self-titled LP + a bonus LP, consisting of previously unreleased material.

Marien Van Oers work under the name Het Zweet (“The Sweat” in English) originally came out in the 1980s (specifically 1983-1988), but listening to the new reissue of this self-titled album from 1987 can feel like one is listening to something that’s both much more current and also much, much older than that. Van Oers, who passed away in 2013, made music that tended to get classed as “industrial”, and tracks here like the steady, clanging churn of “From the Lowland” or “On Earth” show why, but he was as or more inspired by tribal music intended to produce trance-like effects via rhythm and (percussive and vocal) repetition. Using instruments made by himself out of anything from shopping carts to cardboard tubes, the music of Het Zweet locks into grooves that somehow feel more elemental and physical than many of his contemporaries. It never quite feels like Van Oers is emulating or echoing the music of any particular region or tradition so much as trying to synthesize all the ones he’s heard into some sort of ur-pulse, an overtone so powerful as to compel the “Massive Trance” the title of the last song on the record evokes.

While the 1987 Het Zweet has four track titles per side, and on listening you can discern some segues and places where it feels like new movements do shift into place, it’s fitting to have this record on vinyl where the listener is encouraged to experience each side as one uninterrupted piece. The bonus material included on this reissue expands Het Zweet from one LP to two, the second LP consisting entirely of previously unreleased material. This bonus LP is sequenced similarly, with three untitled tracks and two live excerpts presented as side-long experiences that belie their disparate origins with a unity of sound and purpose. Van Oers’ percussive nous and distantly yelled chants certainly sound capable of working up a sweat in both the performer and any movement- minded listeners, but maybe the most striking thing about Het Zweet is how vital it still sounds, despite its age and relative obscurity.

The second volume in a two-part collection of pirate radio adverts & idents, taken from recordings of London stations between 1984 & 1993.

Lonefront puts out his first EP on wax with Kajunga Records. Two raw and hypnotic techno tracks channeled from deep.

“Additive spectra” uses the basics masterfully to draw in the mind and body and transport the spirit to ancient spaces. A deep kick and bass drive through the whole track while the high end remains sparse with a subtly shifting pulse and restrained hi hats keeping the tension alive.

On the B side, “South of Forever” is an even more stripped back, slow burner. Nonstop kick and trance inducing percussion anchor the listener in while resonations and reverberations are twisted and mangled to create a strange evolving space out of darkness.

Lonefront is an artist out of MN by way of the bay area. He produces raw explorative techno tracks and performs live using modular hardware. His stripped back productions shift between the speculative future of progress and the drone of decay. Get in tune with carcasses of factories, a chorus of tongues spouting silent mantras, a silent stream of error-riddled program scripts: the flux and snap of trauma incants the noise beyond language that compels movement, and sets you free.

Mr. K is back again with a double-sider that tackles the ups and downs of love and does it in fabulous style with two solid soul classics.

Yvonne Fair was a veteran of the soul music world when she finally got the chance to record her first full length album in 1975. She had recorded multiple singles under the guidance of James Brown (her “I Found You” was reworked by Brown into the chart-topper “I Got You (I Feel Good)”) and, after leaving the JB camp for the auspices of Motown, a clutch of 7-inches with Norman Whitfield. These were gathered together to form her first (and only) full-length, but before the album was completed a final song was added to fill things out. This last minute touch would turn out to be the crowning achievement of her career. “It Should’ve Been Me” didn’t seem to be a notable addition at first. The song was originally done by Kim Weston a decade earlier and then by Gladys Knight. But Fair’s version had something special. In addition to the novel addition of a percolating drum machine pulse, Fair imbued the lyrics with a heartfelt sincerity and gruff emotion that touched listeners in a way that other versions had missed. Released as a single in the UK in late ’75, the song rose to the top ten of the British charts by February of the following year, inspiring Motown to release it as a US single. The song never replicated its UK success in the States, but went on to have a long life as a staple of drag performances and gay club life. Gay club life being the heart of all great club life, it’s only natural that the impact of the song has continued to spread, from Adeva’s hit house version in 1991 to Miley Cyrus’s recent revival of the song. Danny Krivit pays tribute to this storied history with his own version, a simple yet effective edit that stays true to the original but gives DJs a little more room (and fans a little more time to sing along!) than the all-too-brief original.

Continuing on our theme of lovelorn loss and redemption, Mr. K turns his attention to the New Birth’s “Brand New Lover” for our B-side. While the original slowly moves from the tentative, immediate aftermath of breakup to the eventual positive path forward, Krivit’s edit jumps straight to the joyous resolution to find new love, riding a delicious call and response chorus punctuated by signature breakdowns from master producer Harvey Fuqua. Danny’s edit provides a natural uplifting opportunity that never stops building over the course of its extended five minutes. Until now, the track has only been available on the group’s debut 1970 full-length, and never on a 7-inch single.

As always, this release has been mastered to the highest standards and is certain to find a spot in the bags of discerning listeners and DJs alike.

For more than twelve years, Morphology have been re-writing the rules of electronics. Michael Diekmann and Matti Turunen have melted electro, IDM and techno into their own unique sound. To celebrate their achievements, FireScope has sifted through the impressive discography of this Finnish pairing to bring long out of print tracks back to life.

Twelve 2 brings together a decade’s worth of music released between 2009 and 2019, a dozen works that traverse genres and labels like Abstract Forms, AC Records, Analogical Force, Central Processing Unit, Cultivated Electronics, diametric., Inner Space Records and Vortex Traks. Spliced beats and bulging bass lines introduce the album with "Karma Flies.” Rhythmic patterns are condensed and stretched in “Inversion Layer” and “Amphidiscosa”, the latter’s aquatic undercurrents melting an organic touch with the coldness of the machine. Darker tones lurk, the long shadows cast by “Convince the Computer” spread to other tracks like “Nucleosynthesis.” Yet, despite these more sombre shades, pieces with a human element punctuate the album. The frenetic pace of “Fluid Dynamics,” with its playful melody, throbs with the pulse of a city while the ebbs and flows of the watery “Active Optics” explore an ever morphing and shifting sound. An imagined future is never far away in Morphology’s machinations. These other places are given sound in the frigid grooves of “Sentinel,” the primal beauty of “New Horizons” and the stark structures of “Landforms.”

Not only does this double LP gather rare tracks never heard together before, but also each piece has been lovingly remastered to breath new life into these wonderful works. Twelve 1 celebrates the music of Morphology in all its glory, two masters of modern electronic music who continue to re-define and re-design genres.

Mark Du Mosch is a master of electronics. Gracing a glut of labels in a career spanning more than a decade, he arrives at Schrödinger’s Box with a very special release. Presence is a fiver tracker of enviable quality. Set in the canon of warm techno, Du Mosch focuses on melody and texture. “Studio M Uno” is bright and unassuming, “Koriander” both assured and fragile. The tracks on offer feel like the musical accompaniment to a Summer’s day, a time where cares are in the present and future worries do not exist. The unseen complexities of the everyday are an audio focus, the intertwined interplay of drum patterns in “Mrk I Utilities” and the mechanical dawn of the title piece throb with a human pulse. Always present, but never imposed, is the techno composition that brought this dutchman to the attention of so many. This is plain to hear in the diverse threads that are collected to produce the rich and varied closer, “Too Much.”

We welcome back Stockholm house stalwart Viggo Dyst for his second contribution to our Classic Cuts series: an uplifting cut of five melodic tracks, including a remix from SNF mainstay, Earth Trax.

Tech-house banger 'These Knits' kicks off proceedings, with cosmic undertones that imbue it with a sense of buoyancy and playfulness. On the flip, Earth Trax teases out the track's cooler elements, introducing a more definitive pulse and replacing the melody's warmth with a greater sense of unease: catch this one reverberating around a cavernous warehouse. 'Promises' maintains the driving propulsion, introducing an acid melody which lends it anthemic grandeur before the sultry whisper of cymbals and female vocals on the modest deep house track 'CAT' strip things right back. Finally, the ambient closer 'Bubble Wrap' pays testament to Viggo Dyst's musical ambidexterity and his capacity for creating atmosphere with a full-bodied soundscape and rich tonal depth.

These Knits EP drops 10th June 2022 via Shall Not Fade

12 years after their self-title debut this is the "lost" second album from Coconuts (the NYC duo of Tim Evans and Jordan Redaelli). "Coconuts, as I have known them, cracking bunk PAs in NYC hovels, is simply inertia; steam-propelled on the hot guts of rock's past. They mainline into a legacy of pop obfuscation, in which sheer sonics and the sensuality of the guitar-as-tractor-beam blinds any sort of lyrical message or rock narrative. The sound is dire and low and vaguely menacing, like the pulse of an opiated Ritchie Valens slow dancing with the Dead C or the saucer-eyed paens of Japanese mopers The Jacks. And though the 'Nuts are lauded for their no-mind electric antic, their craft reveals a collective instinct honed over countless late nights of bleary deep listenings." - Daniel Lopatin / Oneohtrix Point Never // Also Available From Coconuts:

Hospital Records proudly present the debut solo album from drum & bass icon Grafix. ‘Half Life’ is an introspective glimpse into the influences and sonic development of the Bristol-based producer, who over the years has established himself as a pinnacle of the dance music world. Grafix’s first ever studio longplayer as a solo artist consists of 14 hotly-anticipated pulse pounding anthems, featuring killer collaborations from the likes of Metrik, Lauren L’aimant, Reiki Ruawai and Chrissie Huntley in his hit singles ‘Somewhere’, ‘Feel Alive’ and ‘Skyline’.

High-octane dancefloor energiser ‘Skyline’ sees drum & bass titans Grafix and Metrik collide for a third time on this futuristic drum & bass cut infused with pure uplifting soundscapes. Enter a world of powerhouse synthesis, relentless basslines and Metrik’s very own vocal performance. This is just the follow up you needed from the mammoth success with the duo’s previous collaborations ‘Overdrive’ and ‘Parallel’.

Grafix draws upon his love for rave culture on the acid heavy ‘Blast Out’ - a no-holds-barred drum & bass system shocker. Skittery vocal chops, shredding bass hits and minimal-funk drums show the side of Grafix well known for tearing up the dance - never afraid to drop a wild card.

From the hypnotic and distorted energies on the likes of ‘CTRL’ and album title track ‘Half Life’, to the forward-facing vibes on LP numbers such as ‘Accelerate’ and ‘The Chance’, the versatile flavours supplied by Grafix throughout are a testament to his years of experience in the studio.

Other album highlights include two tracks with the immensely talented Lauren L’aimant who boasts previous releases on staple dance imprints including Anjunadeep, Colorize and Protocol Recordings. ‘Watch The Sky’ is an anthemic stepper home to Lauren’s spine-tingling vocals and Grafix’s catchy synth hooks. ‘Feel Alive’ captures the pair’s undeniable ability to strike up a euphorically cutting-edge dance music banger.

The ‘Half Life’ LP also features the previously released tracks ‘Radiance’ as well as radio hit ‘Somewhere’ featuring New Zealand’s very own Reiki Ruawai. Both tracks of which are no stranger to worldwide drum & bass listeners.

Grafix’s debut album marks a signature milestone within his musical journey as a solo artist and his achievements so far only scratch the surface. The first single ‘Somewhere (feat. Reiki Ruawai)’ to drop from his album racked up global airwave support with an impressive number of plays from radio tastemakers including Danny Howard, René LaVice, Mollie Collins, the George FM crew in New Zealand and of course, Fred V. With regular support from big hitters including Sub Focus, Wilkinson, Friction, Camo & Krooked and more, Grafix’s music continues to talk for itself when racking up countless DJ spins as well as consistent landings across pinnacle industry platforms such as UKF. Keep an eye out for Grafix at Snowbombing, Hospitality On The Beach Albania and more throughout 2022!

Black Truffle is pleased to announce World in World, the latest solo offering from prolific Berlin-based guitarist-composer Julia Reidy. Where the recent trilogy of LP releases – brace, brace (Slip, 2019), In Real Life (Black Truffle, 2019), and Vanish (Editions Mego, 2020) – focussed on increasingly lush electronic settings for Reidy’s propulsive fingerpicking and auto-tuned vocals, arranged into wide-ranging side-long epics, World in World finds Reidy refocusing on the core elements of their approach while simultaneously pushing into challenging new areas. Comprising nine pieces ranging between two and seven minutes in length, the album’s opening title track promptly introduces the distinctive palette of just-intoned electric guitars, subtle electronic processing, and voice that is rigorously explored throughout. Where much of Reidy’s guitar work on previous recordings explored rapidly pulsed cycling figures, here notes often hang in the air in a more spacious, lyrical fashion. The elasticity of rhythm and non-linear repetition of pitches initially suggests improvisation until the listener becomes aware of the precise arrangements of spatialised lines. At times, World in World suggests classic bedroom electric guitar works of the 1990s such as Loren Connors’ Airs or Roy Montgomery’s Scenes from the South Island; like those works, Reidy’s possesses a wonderfully live ambience, with frequent pedal clicks adding to the music’s powerful sense of intimacy. In Reidy’s case, however, the yearning, melancholic mood of Connors or Montgomery is tempered by the unorthodox guitar tuning, which at points produces a unique and uncomfortable effect somewhere between the hyper-precision of Harry Partch or Lou Harrison and Jandek’s slack-stringed descent into the void. While World in World plots out its terrain with a bold single-mindedness that allows some pieces to appear almost as variations on a common theme, subtle changes in emphasis distinguish each track. Tactile percussive interjections skitter across the tremolo tones of ‘Paradise in Unrecognisable Colours’, while ‘Ajar’ ramps up the role played by the electronics, with glitching pitch-shifted and back-masked textures threaded through the guitars and thickly harmonised vocal layers. Ranging from autotuned melodic lines to buried murmurs, Reidy’s voice is a frequent presence throughout these nine pieces, at times creating the impression that a more conventional series of songs lurks underneath the chiming microtonal guitars. On the stunning ‘Poised’, whispers and distant, ghostly wails surround the layers of guitars, at times suggesting the foggiest outer reaches of Liz Harris’ Grouper. Both rigorously experimental and emotive, World in World is undoubtedly Julia Reidy’s finest work yet.