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Avant-garde


Album review: Tom Dissevelt – ‘Fantasy In Orbit’: seminal Dutch space-age electronica gets a deserved reissue

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Album review: Adam Stafford – ‘Trophic Asynchrony’: Falkirk composer moves to a deep, cyclical set of formal minimalism to address the ecological state we’re in

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Album review: Masayoshi Fujita – ‘Bird Ambience’: a marimba and electronica masterclass for meditative thought

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TAKE two of the best instrumental guitarists currently working in instrumental Americana, Marisa Anderson and William Tyler; put them together in a studo; press record. It’s a simple idea, but an idea as brilliant as the results. In some ways it’s a surprise the two haven’t married their winding, mesmerising aesthetics before. In fact they …

JENNIFER is the avatar adopted for the world of music by Denver’s Zach Spencer, an artist who read an interview with instrumental guitar legend John Fahey in which John did away with the reputation garnered by his own work in one pithy couplet: “cosmic-sentimentalism” he called it. But that phrase stuck with Zach not as …

FOUGÈRE is the modern compositional project of Jamie Norton, an artist who’s quietly gone about helping fashion some of the biggest songs of modern times as a musician and arranger; he’s worked with The Brand New Heavies, Brett Anderson and Take That. But as Fougère his work sits in the bright melodic shimmer of artists …

YVES JARVIS is the artist and autodidact Jean-Sébastien Audet who, in a pseudo-Bill Callahanesque move, came out from behind his Un Blonde facemask after 2016’s excellent Good Will Come To You (according to his personal colour palette, it was bathed in yellow, for optimism), reborn with a new name. Over here at Backseat Mafia we adored his …

HAILING from the City of Glass north of the 49th, Vancouver, bowed guitarist and sound collagist C. Diab has become something of an anchoring artist over at Injazero, the London- and Istanbul-based imprint overseen by producer and journalist Siné Buyuka. He was one of Injazero’s earliest signings, debuting for the label back in 2016 with …

NEW YORK-based choral ambient artist Emma Houton has announced she’s to release her debut album, The Bath, on Trapped Animal Records, the home of psych-folkster Jeremy Tuplin and others, in May; and you can see the video for the first single from that immersive work, “Watershed”, here today. Born to an Irish father and raised …

ART AS a means of transforming experience and particularly pain; it’s a well-tested process, and one that Olin Janusz, the artist working as Bare Wire Son, knows works. For his second album under that name (following on from 2016’s Gently), he decided to go investigate a certain and hugely traumatic period in modern history. London …

“SIGNALS FOR SIGNS” is a hard cut to horns heralding and welcoming the euphoria of the new. “The music invokes the sound of a union, not unlike a marriage ceremony. It unabashedly reaches toward the beautiful while grounding and holding us in a low-end hug.” So says Sam Genovese of his new and deeply wrapping ambient single …

No Such Thing As Free Will is a much prettier and more enveloping record than words can convey; it has a really nice poise between the disciplines of the leftfield, the guitar soli and that of bright folk melody. In this regard if you’re a fan of early to mid-period James Blackshaw, but also very much the quartet of ‘free folk’ albums Stockholm’s Andreas Söderström released as ASS in the decade from 2006, you’ll find an awful lot to love. A bright, studious, harmonic, pastoral gem

LONEY DEAR is the wholly unusual solo vision of Emil Svanängen, part of the stable of talent over at Peter Gabriel’s Real World imprint, with a curiously timeless and very intelligent take on the solo singer-pianist auteur thing; at once wholly himself but seeming to draw on elements of the drama of early John Grant and equally …