Split Apex navigates a murky subterranean river, the headwaters of which lie in the craggy caverns between The Shadow Ring’s stark moonscapes and the blown-out craters that Wolf Eyes patrols. The London-based duo — bassist/vocalist Peter Blundell (Mosquitoes, Komare) and Finnish ex-pat Jussi Palmusaari on electronics, percussion and guitar — prepare oblique, haunting sound constructions that thrum, squall and slither. Theirs is a squirmy brand of deconstructed song, featuring meaty bass and snippets of droll spoken word from Blundell and uncanny electronics and guitar scree courtesy of Palmusaari. The pair focus on atmosphere, squeezing sound into a warm, fluid environment that’s as suitable for thoughtful rumination as it is for growing…
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“Bariken” is a 2004 album by 
The album 
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 
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.
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.
In the five years that they’ve been active, it sometimes seems as if 
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This woozy, wandering album 
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.
This release from instrumental drone trio