Andy Stott explores more electornic subgenres on his latest full-length release.
Previously mentioned Living In Frames has a new single titled “Can’t Dream,” and it’s a joyous exercise in ambient maximalism. There lies no subtlety in the wailing production on this song, nor should there be. Beginning with a beautiful and layered chord progression, the song consistently hints at dropping into dance territory. However, every time the booming steps threaten to overshadow the song–at 2:40 the song literally teases a 2010-esque dubstep drop–they quickly dissolve away again. Living In Frames is not afraid to employ every sound at his disposal: dark ghost vocals, harsh reverb, glittery synths to fill out the sound, but most importantly, an ear for incredible melodies.
- Garrett Cottingham
Black To Comm is the experimental music project of sonic adventurer Marc Richter. Since the mid-00s, Marc’s been dropping loads of albums, splits, and even he even released a Scott Walker-esque video installation soundtrack back in 2012. However, Richter is bringing the project back to its roots on this new self-titled release, venturing through the sounds of ambient music, drone, and tape music as well.
The soundscapes on this album are dense, creative, and difficult to penetrate. Some are more minimal or abrasive than others, but all are simultaneously beautiful and intriguing.
Pink Floyd has a new album. Whaaaaaaaaaaa?
UK electronic music producer Andy Stott comes through with a new record that further melds the worlds of techno and textured, noisy dark ambient music. You can stream Faith In Strangers above, which is getting released on Modern Love this week. Enjoy, and check out a review for Stott’s last full-length right here.
Some strange and relaxing drone and experimental music on this new Wilting Sun album here. While Wilting Sun is careful not to step into anything too accessible, there’s quite a bit of variety on the six tracks here. Some tracks, like the intro here, deliver a mind-numbing drone, but manage to maintain an unsettling atmosphere pregnant with tension. Other moments sound like they’re pulled straight out of the Tim Hecker or Boards of Canada playbook, combining beautifully haunting melodies with soul-crushing noise and fuzz . As the name implies, the music of Wilting Sun is apocalyptic, desolate, and an ideal soundtrack for the end times.
This week Finnish experimental electronica extraordinaire Sasu Ripatti (a.k.a. Vladislav Delay) dropped a new full-length album called Visa. On this new project, you will not find the rich dub influence of previous two LPs Vantaa and Kuopio; rather, Delay appears to be attempting a return to form…whatever that may be for him. Since the beginning, his work has in many novel ways challenged the conception of ambiance as a passive mode of music, and the five oft-sprawling pieces on Visa very much share this spirit. Delay’s music demands attention – his compositions are angular, his rhythms complex, his progressions combustive. Consequently, he has managed to remain quite a bit more “engaging” than your typical ambient artist. Lay your ears on a medley of Visa‘s tracks above, or stream the whole thing below via Delay’s Bandcamp. Enjoy!
On its 12th album, Norway’s eminent free improvisational outfit Supersilent is still managing to turn out some pretty evocative and extraordinary music. Having dabbled in avant-garde jazz, EAI, noise, and experimental rock throughout its career, the trio now finds itself in a decidedly dark ambient place. Just listen to 12‘s opening track – Arve Henriksen’s forlorn trumpet drifts and stabs out through a murk of synthesized wind courtesy of Ståle Storløkken and Helge Sten. Listening to the track is like slowly losing consciousness in a cave leaking hazardous gas. Thankfully, Supersilent is still capable of delivering inspired material to keep the listener the right kinds of intoxicated and breathless.
12 is out now via Rune Grammofon.
Baltimore-based electronic musician Matthew Papich (a.k.a. Co La) is back with a new album that delivers more of the complex beats and disorienting samples that have intrigued us in his past work. Hegemony of Delete‘s six tracks offer subtle, digressive, and glitchy compositions that revel in both the banal and the tangential. In Hegemony, there is no difference between work and play–Co La conflates the relative coldness of the workplace with the distractive element of leisure. The result is something at once mundane and captivating. See what I mean with track “BB Burn” above. Happy listening!
Hegemony of Delete is out now via Primary Information. Our review of Co La’s previous full-length: