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Jack Chuter

Jack Chuter

Hard Return: African Ghost Valley – SEASONS

13 January 2022 Incredible new EP from this Canadian/European duo, all stemming from the synth melody that pervades the entire release. In fact its ubiquity is primarily in spirit, with the levitating drone of “SEASONS NEEDLE” and the radio interference of “SEASONS EENT” infused with its beautiful searchlight swirl.

Review: Uraño – BARRAGE

Review: Uraño – BARRAGE

BANDCAMP. What an opening riff. Like a degraded film loop of someone falling down a right-angled staircase, drums and bass stumble and slam into the wall on repeat, occasionally dragged into chaotic celluloid divergences, somehow returning to the main refrain each time. Where some groups affiliated with the “noise rock”

Crucial Listening #94: Martin J Thompson

Crucial Listening #94: Martin J Thompson

VHS basslines, definitive ambient, record shopping in Woolworths. The London-based musician and anarchist discusses three important albums.

Feature: Records Of 2021

Like all end-of-year lists, there’s nothing definitive about this one. Neither is it in any particular order. Essentially, here’s a selection of records that pop into my head when I think about the music I’ve enjoyed throughout 2021. I’ll probably end up adding a whole bunch

Crucial Listening #93: Yan Jun

Crucial Listening #93: Yan Jun

Everybody against everybody, the left hand of the Qin master, tin can Beatles. The Beijing-based musician and poet talks about three important albums.

Crucial Listening #92: Olivia Block

Crucial Listening #92: Olivia Block

Liturgical lullaby, canine concrète, a chess game that never ends. The Chicago-based media artist and composer talks about three important albums. Olivia’s picks: Alèmu Aga – Éthiopiques 11: The Harp Of King David Beatriz Ferreyra – Huellas Entreveradas Morton Feldman – For Samuel Beckett Honourable mention: Kim Jung Mi – Now Olivia’s

Review: Todeskino – Debutante

Review: Todeskino – Debutante

CRUEL NATURE. The debut album of Düsseldorf’s Todeskino (which possibly translates as “death cinema”) opens with beauty and sadness in neoclassical widescreen: choir pads swirled in synthesised strings, piano notes like droplets into unstirred lakes, melodies that wring the emotive polarity of major and minor keys. The record continues