Matinee Acoustic Live at the Prince Albert finds Johnny Moped taking an unexpected turn with an acoustic set that, against all expectations, proves both engaging and highly entertaining. The very idea of a Johnny Moped acoustic performance might raise eyebrows among longtime fans, but the results speak for themselves.
Historically known for their chaotic and unpredictable shows, Johnny Moped have, in recent years, evolved into a far tighter and more dependable live act. That doesn’t mean the band have lost their edge—mistakes still happen, but within the Moped universe, they only add to the charm. What truly drives the performance is the same energy and excitement that has always defined them, and it remains fully intact here.
Category: ***
To many in the know, Brian Foote-who cut his teeth raving in Wisconsin-is as synonymous with Chicago label kranky as the albums they’ve released. Foote has worked alongside co-founder Joel Leoschke as a publicist for the label since 2005. But he’s also a label boss in his own right. Inaugurated in 2012, L.A.’s Peak Oil (run by Foote and Brion Brionson) is a home for the kind of “strange and mysterious” heads-down electronic music that grows in dank basements: ambient-adjacent, breaks-friendly, and with the club never too far from its mind. One of the label’s recent “stars” (insofar as an underground group can attain that status) are Brooklyn ambient trio Purelink, who to date have released two albums of critically acclaimed chilled electronica that feel part of a wider return…
Reverence for the organ trio tradition of 1970s soul jazz remains Parlor Greens’ guiding light on sophomore album Emeralds. The trio was founded when Tim Carman-whose heavy blues rock trio, GA-20, releases music through Colemine’s catch-all subsidiary Karma Chief-told Colemine founder Terry Cole about his aspirations for an organ trio after which Cole called up guitarist Jimmy James and organ player Adam Scone. James did a seven-year stint in the Delvon Lamarr Organ Trio, while Scone played an integral role in the late ’90s soul revival as a member of The Sugarman 3 and as a session player with Daptone. Not only had James and Scone played in organ trios in the past, but they’d previously collaborated on Brooklyn to Brooklin, the 2022 full-length…
Author Philip K. Dick spent his career poking at the porous boundary between reality and illusion, questioning the reliability our perception and memory. Using motifs such as artificial intelligence (AI), mind-altering drugs, simulated realities, and corporate and governmental power, he examined our sense of identity, the nature of truth, and the very essence of reality. Given recent advances in AI as well as ongoing sociopolitical changes, Dick’s work now seems more prescient than ever.
Ubikuitous, yet another thematic compilation from Unexplained Sounds Group, uses experimental ambient and acousmatic music – with a touch of glitch and techno – to explore these concepts. Many of the 14 tracks employ synth-based droning with dark overtones as a core element,…
In 2017, in two batches of five, Another Timbre released ten albums of music by eight Canadian composers (two of the composers, Linda Catlin Smith and Cassandra Miller, each had a couple of albums among the ten) accompanied by a booklet about the composers. The intention was to improve Canadian composers’ reputations, one which was soon achieved. As well as Catlin Smith and Miller, with the help of Another Timbre, Canadian composers such as Mark Sabat and Martin Arnold gained in popularity.
Although Eldritch Priest is Associate Professor in the School for the Contemporary Arts at Simon Fraser University and writes on sonic culture and experimental aesthetics, he is also a composer and improviser. He has a relatively…
In the five years that they’ve been active, it sometimes seems as if Purelink are dissolving right before our eyes. They’ve never again released anything quite as corporeal or propulsive as their debut EP, which paired visceral dub techno with rolling drum’n’bass.
On their 2023 debut album, Signs, glitchy drums crackled in a pastel haze, and last year’s Faith was even more ethereal; the trio’s individual identities melted together under cover of amorphous arrangements that suggested fogbanks, blizzards, and other zero-visibility conditions.
Anyone who has seen Purelink live, however, knows how much physical heft they’re capable of conjuring — a bold, bassy throb that sets bodies in motion even in the absence of obvious…
…Jakob Ullmann was born in July 1958, in Freiberg, Saxony, East Germany, the son of theologian and politician Wolfgang Ullmann. After Jakob refused to serve military service in East Germany, he worked as a groundskeeper, boilerman and house painter in Dresden from 1978 to 1982. From 1979 to 1982, he studied church music in Saxony. He was denied official enrolment in Berlin’s Academy of Fine Arts and so he studied composition privately with Friedrich Goldmann until 1984. Since the early eighties, Ullmann has been working as a freelance composer and author of self-published writings, also teaching classes at different universities on New Music, mediaeval music, history of Byzantine music as well as music philosophy. His works have ben performed at festivals of…
Sacred Lodge is the side project of Paris-based producer/sound artist Matthieu Ruben N’Dongo. Rooted in his ethnomusicological research, which explores the role of music in ritual contexts and his own Equatoguinean heritage, the results are unsettling but compelling, characterised by heady percussion and swarming electronics.
But while his 2019 debut Hijos Del Sol was made up of murky downtempo instrumentals, N’Dongo’s follow-up amps up the intensity almost beyond recognition, with a collection of sludgy, abrasive tracks.
One of the starkest differences is the use of vocals, which have previously only featured as echoey background textures. On Ambam, N’Dongo makes full use of his voice. Inspired by…
This woozy, wandering album 8Men from Isa Gordon sees the Ayrshire musical magpie presenting four interpretations of trad folk tracks, alongside four eclectic covers. It’s an intense, otherworldly experience that rewards repeated listens. Vocoder laments twist through ambient soundscapes, never losing the melody at the heart of each track, like Laurie Anderson’s O Superman battling it out with the more introverted end of The Cure’s Songs of a Lost World.
The covers are a clever hook that showcase just how versatile Gordon can be. If you weren’t expecting to hear a trad ambient version of War Pigs by Black Sabbath, then today is your lucky day. This has clearly been a labour of love, choosing songs that, despite their diverse heritage…
Formlessness comes in many forms. There is a loose category of music that seems to shift without any noticeable movement, that gathers in dark pools or drifts in gaseous clouds, and we tend to call that music ‘ambient’. But ambient covers a lot of ground these days: beatless music often displays psychedelic or folk influences, elements of musique concrete, field recording or free improvisation. It’s less a genre and more a kind of abstract moodboard, and as such its practitioners are sometimes guilty of a lack of focus, of throwing too much at the wall, or else too little.
But in the right hands, it can be incredibly potent. Gayle Brogan, the mastermind behind Pefkin, understands the fluidity and adaptability of ambient music better than most. A prolific…
This release from instrumental drone trio Setting (Nathan Bowles, Jaime Fennelly and Joseph Westerlund) sees them complete a trio of live albums before they drop their second studio effort next year. at Public Records was recorded last spring when the band descended on Brooklyn to play a bill with Philadelphia band BASIC (previous Setting live albums at Eulogy and at Black Mountain College Museum were recorded in the band’s home state of North Carolina).
In a sense, this set plays out as more of a sibling piece to Eulogy than Black Mountain, with a darker and more urgent feel in places than the latter. After an edgy start, combining percussion that sounds like ghosts in the attic with eerie beeps and an insidious, undulating drone…
In a time when big name acts of previous decades fill stadiums with their comeback tours, relentless nostalgia has become an industry of its own. The familiarities of the past providing a sort of cultural comfort blanket. There’s nothing inherently wrong with a bit of nostalgia, but mining an earlier era as an artistic source, can quickly put an artist in a particular bracket.
Singer-songwriter and all-round jazztronica sensation Anna Stubbs aka Kinzoogianna joyously avoids the pitfalls of retro-ism with The Clique of ’86, her second solo effort. On this fun and deeply gratifying set of tracks, she couples forward-looking contemporary jazz with a multitude of ’80s styles and sonic inflections to deliver a musical experience that is tongue…
Marja Ahti was born in Sweden in 1981 and is now a sound artist working in Turku, Finland. She works with field recordings and other acoustic sound material combined with synthesizers, feedback and tape treatments, organising sounds in a loosely associative way.
Besides her solo work, she is active in the duo Ahti and Ahti with her partner Niko-Matti Ahti, and they are members of the Himera, a collective of four Turku-based musicians and sound artists who organize a festival and concerts focused on different expressions of experimental music and sonic art. That group has been active since 2012. For Visiting Cloud (Two Translations) the two Ahti compositions “Chora (2019/2024)”…
In this unusual album, Helen Anahita Wilsonnot only produces sonic tributes to the members of the Solanaceae plant family; she provides them with a voice. Biodata from member plants is used to trigger certain instruments and sounds, with whom Wilson produces duets both electronic and organic. The mysterious nature of the family ~ represented in the clever alliteration of “magic, medicine, myth and mortality” ~ is extended to the allusive sounds.
The first surprise: every member of the nightshade family contains nicotine: not only the tobacco plant, but the eggplant, potato, pepper and gooseberry. In the opening piece, Wilson establishes a percussive pulse, quicker than one might expect for something called “Nicotine Hit,” backed by what sounds like a saw, likely triggered by…
A steady drip of aqueous, IDM-tinted techno has earned Dominican producer Boundary, born Josué Suero, a place at the vanguard of Santo Domingo’s electronic scene. After picking up a copy of Ableton at 16, the young artist quickly established a signature sound: taut basslines, blockish low-fidelity timbres, and a keen sense of momentum that elevates the standard four-on-the-floor pulse. Boundary’s beats practically glow in the dark with peppy snaps, clicks, pops, and snares, buoyed by evolving melodies that belie a certain melancholia. His most recent full-length, 2024’s Oxido en El Espejo, exemplified this saturnine bent, weaving grim warnings of planetary catastrophe into its track titles. With the new Epicenter Imager EP, Suero maintains focus on the natural…
Drummer Kate Gentile is a restlessly innovative improviser and composer who does not shy away from pushing boundaries. In the equally adventurous guitarist Marc Ducret and experimenting saxophonist Jeremy Viner, she has found kindred spirits. Together, they make up the collaborative Sifters. Their eponymous release consists of seven stimulating originals delivered with seamless camaraderie, as the group often functions as a single dynamic unit.
For instance, Gentile’s “Flail Maneuvers” is a provocative piece built around a thrillingly riotous repartee. The textured ensemble play deftly fuses composed passages with spontaneous ones. Gentile’s thunderous polyrhythms, Ducret’s blistering chords, and Viner’s fiery…
Gloom, glorious gloom, permeates the musical catalogue of singer-songwriter Fågelle (Klara Andersson), and new album Bränn min jord overflows with it. There are screams, cries, and field recordings. There is a sense throughout that we are swinging between mourning and desperation. Most importantly, there is Fågelle, coolly confident and unpredictable as a composer and performer. Even in the record’s most sedate moments, there is always something simmering within her. As Bränn min jord moves from start to finish, it’s thrilling to find out what those somethings are and how they burst forth from the depths of Fågelle’s mind to the sonic surface.
As the album begins, it is slow, stark. Beneath a sparse piano line and Fågelle’s tense…
Legendary saxophonist Don Dietrich and his powerhouse cellist daughter Camille Dietrich collide in Live Bahdu, a fierce musical union that music critic Byron Coley hails as “sheer wailing sonic pleasure.” Don, an untamed force who has spent over forty years shaping the explosive core of Borbetomagus, unleashes a volatile, lung-shaking roar, an unyielding take no prisoners wall of sound.
Camille answers with her own ferocity, channeling raw, electric intensity through the disciplined edge of her classical training, wielding her cello with the instinctive wildness of someone raised inside the storm of improvisation.
Together, they don’t just play-they engulf. Their sound floods a room, swallowing the air, saturating the senses, and leaving audiences…
Magnus Granberg was born in Umea in northern Sweden in 1974. He studied saxophone and improvisation at the University of Gothenberg and in New York in his late teens and early twenties. He was self-taught as a composer.
In 2005, he formed his ensemble Skogen which on November 12th 2010 recorded his composition “Ist gefellen in den Schnee” at Atlantis, Stockholm. The nine members of Skogen included Granberg himself on piano, an instrument he had taught himself. The album was released on Another Timbre in February 2012. As with many of Granberg’s compositions, he used other music as inspiration for his own, without copying other composers’ work. As sources of inspiration for “Ist gefellen in den Schnee” he said he had referred to two…
Sublimatio Mortis is a Canadian duo that, at least on this latest release, focuses on deep, slow drones with bassy throat singing and chant.
Over the course of three long tracks spanning 55 minutes, Ghur is an exercise in wall-shaking frequencies coupled with, electronics, static, and guttural vocalizations that provide a haunting yet modern atmosphere.
The sound palette on these tracks is often sparse – overlapping drones that buzz with dark energy, growls from the abyss, and perhaps a chromatic sweep from a synth. This is not ambient music in the usual sense, but an act of transforming raw emotion into tectonic vibrations that physically and psychically pummel the listener. As the album progresses, the palette expands…