Ukrainian artist and sound designer Oleg Shpudeiko follows up 2017’s epic “Anthem” with a set of equally as beautiful pieces culled from studio improvisations on a modular
Glasgow based Invisible Inc. celebrate their twentieth release with a proper labour of love. Not content with just compiling a selection of excellent other worldly cosmic variations, Invisible have pulled together an impressive roster of musicians including Laraaji, Malcolm Cecil (as Tonto’s Expanding Head Band), K. Leimer and Richard Bone.
Recently prone to immaculately produced ’80s smooth jams (The Serious EP) we must admit that it’s with a touch of trepidation that we fire up “Phantom Brickworks”, Bibio’s latest long player on Warp Records. However, true to form, Wilkinson surprises with an about turn focus on deeply pensive and emotive ambience.
Leandro Fresco and Rafael Anton Irrisari ’La Equidistancia’ released on Ryan Griffin’s A Strangely Isolated Place imprint is ambient of the most epic kind – with layer upon layer of undulating sound. A delicately unfurling liminal hinter world at times as cold as the cover art, at others warm and embracing.
Green Door Studio co-owner and engineer, Stuart Evans, resurfaces his Sordid Sound System moniker for another belter of an EP via Glasgow based Invisible Inc. ‘Fear Eats the Soul’ takes us on a global trip as a concept EP made of “four imaginary bands from Detroit, New York, Paris and Munich”. And the results are as rich in history as they are a satisfying listen.
Lord Of The Isles has turned his hand to a full length, working closely with Californian based ESP Institute to distil a wide selection of tracks from the past few years into ‘In Waves’. For a man without any academically noticeable ‘talent’ for music the resulting album is, quite simply, excellent.
With a brave title like ‘All The Right Noises’, Roman Flügel’s third album for Dial should be hitting All The Right Buttons. The good news is that after, at least, twenty listens we’ve struggled to detect a wrong noise. All of it seems very right indeed. It’s so right that we think this is likely Flügel’s best work yet.