80.
Top, from electronic music powerhouses Lasse Marhaug and Jérôme Noetinger, is dedicated to the late Editions Mego founder and musician Peter Rehberg. Using 20-year-old MacBooks, SuperCollider patches, modular synths and CD players, Marhaug and Noetinger deliver music that brims and bubbles with an unpredictable electronic lushness across the record’s ten pieces.Lasse MarhaugTopErstwhile
79.
This collaboration with rapper Rahrah Gabor throws another wrench in the wheels of anyone trying to fit Buke And Gase in a particular lane. While almost grindcore-like in their shortness, each of the six cuts on the EP is a magical portal leading to its own upside down world. And behind the doors awaits Technicolor frenzy! It doesn’t take long to get going, either, as the opener, ‘Eggs N Tea’, swirls with discombobulated rock riffs locked in a dance with Arone Dyer’s processed yet strangely alluring voice. But the music is quicksand: the underlying style and atmosphere change continuously, as if running through an apartment building, stomping from one living room to the next.Buke and Gase + Rahrah GaborBuke And Gase + Rahrah GaborBrassland
78.
The sedimentary rocks of the south east peninsula of England were intruded by a huge amount of molten rock from the Earth’s mantle approximately 290mya. Tall pillars of granite forced themselves up towards the surface from a much larger batholith, or reservoir, of granite – imagine a phenomenally large magma-filled glove reaching up from the innards of the Earth with just the colossal fingertips breaching the surface layers – forming such highland outcrops as Bodmin Moor and the Isles of Scilly. Another place where the granite reached the surface is Haig Fras, a 45km-long submarine outcrop, off the north Cornish coast in the Irish Sea. Such weighty, ancient and deep subject matter provides Neil Mortimer (Urthona) and Mark Pilkington (Teleplasmiste) with all the excuse they need to carry out a spacious electronic sonic survey of the life to be found on this subaqueous island.Luminous FoundationHaig FrasHeavy Rural
77.
Pop girls seldom balance sugar-sweet melodies and dirgeful backstory in the way they’d like, but Ethel Cain isn’t just another pop girl. Like Billie Eilish before her, Cain’s debut album feels like a sharp left-turn in the genre, in what’s possible with pop and how much we can and should say about the intersection of religion and identity in a teenage girl’s life, and just how petrifying those growing pains can be.Ethel CainPreacher’s DaughterDaughters Of Cain
76.
Gone from Tanya Tagaq’s latest album are the traces of enchanting singsong and polite pleas for understanding. In their place now exists only burning rage and a full-blast attack against oppressors. Opening the album with ‘In Me’, Tagaq snarls and growls, and spits a daunting invocation based on passages from her 2018 book Split Tooth. “Eat your morals / Eat your thoughts / Your sinew / Your pith / Peel off your skin.” Her words are ablaze and all-consuming like those of a malignant spirit. They teeter on a thin edge between controlled extended technique and unrestrained improvisation, draping over a technoid pulse and pulverising bouts of noisy club constructs.Tanya TagaqTonguesSix Shooter
75.
The five instrumental trio recordings found on Break Apart The Idea Of Separation deliver punishing and dog-sick downer rock riffs. The sound is so sludgy and fucked up, it’s tough to proclaim with confidence what else is going on, but it’s certainly got the mark of guitarist Bridget Hayden, her death-rattle blues clang recontextualised with a particular type of rawk abandon previously found in High Rise, Royal Trux’s Twin Infinitives and The Dead C.SchismsBreak Apart The Idea Of Separation0 Friends
74.
SOON often feel like a conversation made music. Both face each other when playing live, often keeping eye contact throughout each track. In a live setting, this set-up can be charming to witness, but also hard to watch after a while, given the energy is mainly being transmitted between the two players. On record, though, this sort of interaction pays dividends as the sound is intense and committed, and revealing very little slack. Better, this intensity has created the sort of widescreen, filmic music that would grace a flick from the mid 1970s. You can imagine Nixon, Hunt, Liddy and Haldeman all furtively bugging each other to the tracks on here.SoonSOONSubroutine
73.
Robert StillmanWhat Does It Mean To Be American?Orindal
72.
“There is no single word evocation of a place, of the situation, of its people,” says Clare Archibald on ‘Excavate Of Other (The Unknowing)’. It serves as a frisson-inducing modus operandi for her collaboration with Kinbrae. The tape sees the trio use poetry, fragments of testimony and a lilting soundtrack of strings, brass and earthy atmospherics to decode what turns a space into a place. The place in question is currently known as St. Ninians, in East Fife. It’s had various names and uses, from mining community to site of a postmodern art installation, and most recently an eco-wellness centre. The album paints a vivid picture of a land as time and people move through, its identity shifting as generations leave their mark.Kinbrae Clare ArchibaldBirl Of UnmapFull Spectrum / The Dark Outside
71.
More than heavy, the sole collision of Cheb Terro’s rubber-tongued, staccato flow and DJ Die Soon’s venomous grind goes hard as hell. Rapping mostly in Arabic, Terro’s occasional English outbursts come across as emphatic punctuation – exclamation points in the form of ‘FUCK MONEY’ and ‘FUCK THE POLICE’ that more than get the point across for those of us who don’t speak his native language. Released a year after Terro’s untimely passing, there’s a real sense of snuffed talent here. The dude was special, his chemistry with Die Soon equally so. Maybe I’m selfish, but I want volume after volume of this. Thankfully, this slim LP is nothing if not endlessly replayable – an essential transmission from a truly unique artist gone too soon.Cheb Terro Vs DJ Die SoonCheb Terro Vs DJ Die SoonDrowned By Locals
70.
Some doom metal detectives may have put two and two together when Thou unexpectedly enlisted the help of Mizmor (along with past collaborator Emma Ruth Rundle) to cover Zola Jesus’ classic ‘Night’ for Sacred Bones’ Todo Muere SBXV compilation, but for the most part this collaboration seemed to spring right out of the blue. It’s a combination so compelling it makes you wonder why it took this long to happen, with both bands’ styles gelling fantastically across this sprawling 73-minute opus. In some ways it feels like a continuation of the mournful, desolate doom of Mizmor’s last album, Cairn (albeit with an even more robust and powerful rhythm section), but truthfully, neither band pulls too far in their own direction.MizmorMyopiaGilead Media
69.
What has been setting Pusha T apart of late is his ability to trim every ounce of fat from his albums, to present his music as spartan shocks to the system that hit you direct in the chest. After hitting a career-high with his Kanye West-produced last record, Daytona, which just 21 minutes long, the half-hour It’s Almost Dry is in fact fairly expansive by comparison. The amount Pusha fits into this slender runtime is seriously impressive. From the pumping soul of ‘Dreaming Of The Past’ (another link-up with West) to the raw aggression of ‘Let The Smokers Shine The Coups’, it’s clear that Pusha’s purple patch is showing no signs of fading.Pusha TIt’s Almost DryGetting Out Our Dreams
68.
Philadelphia-based Lucy Liyou navigates the ferocious nature of care on Welfare / Practice: how familial obligations can invigorate as much as they can suffocate, curiously expressed through its distinctive play with the voice. On Welfare, the terrifyingly humanistic inflections of text-to-speech soundtrack Liyou as they turn over stone after stone, recounting memories haunted by threats and degradation in search of love. Practice tests Liyou and the lessons learned on Welfare, primarily accompanied by lush pianos, as their mother undergoes a two-week quarantine in Korea to see their grandmother before she passes. It’s an album that balances the giddy exhilaration of experimentation with necessary heart and soul. Astoundingly empathetic in tone, yet uncompromising in its vision.Lucy LiyouWelfare / PracticeAmerican Dreams
67.
There is a moment on this album where under the choir – who sing firm and in full voice like muscles flexed – strings pour in like mist under and around the women singing, lifting them upwards as if they were all on a cloud transcending into the heavens. The emotional dynamics of this moment are so intense I found myself shedding a tear while shopping for shampoo. This record is full of these moments of reflection, or lament, or the sadness of recognition; the flights of the heart and the toils of the mind. Even behind a language barrier, there is a deeply moving narrative bound into this album.Silvia TarozziCanti di guerra, di lavoro e d’amoreUnseen Worlds
66.
EruptLeft To RotStatic Shock
65.
La Colonie De Vacances are something more than a supergroup; they’re actually four mathrock, noise and hardcore-centric bands – Papier Tigre, Electric Electric, Pneu and Marvin – in one. Each band is explosive in its own right but their collective, quadrophonic show is exhilarating. The audience are required to stand in the centre of the venue, surrounded by the four acts on four separate stages who trade taut licks or pummel you in unison. ECHT is the first studio album in their ten-year existence. Conveying the dizzying energy of the live shows was always going to be nigh-on impossible but, on its own terms, ECHT is a work of brutal beauty and lyricism. Bernard Herrmann stabs are rendered as rock riffs in ‘Multitude Of Snakes’, ‘Z.Z.Y.’ sounds like a duet for cement mixer and rubber hosing, ‘Spectral’ reaches a gorgeous, chiming finale and ‘Alex Weir’ maintains its fevered, galloping momentum for eight glorious minutes.La Colonie De VacancesECHTVicious Circle
64.
The title Everything Was Beautiful hails from Kurt Vonnegut’s evergreen novel, Slaughterhouse Five. The book is spiced by an unworldly and illuminating air where the horrific and comedic make unlikely bedfellows and time travel excursions are irregularly spliced into the text. The same might be said of this album which, as one has grown to expect from Jason Pierce, is a captivating and haunting beauty which shocks and soothes and seems to have landed from some parallel universe. The album is one of the most assured and curiously emotive in Spiritualized’s impressive canon. The tracks drift by and seem to fold into each other, probing for new levels – deeper insights, perhaps? Becoming lost to this melodic flow is nothing less than a joyful experience.SpiritualizedEverything Was BeautifulBella Union
63.
With Targala, la maison qui n’en est pas une, experimental folk artist Emmanuelle Parrenin has completed the ‘house’ trilogy that began with 1977’s Maison Rose. Released in March, it deserves a lot more attention than it has had so far, because it is at the very least the equal of Maison Rose. Were it just to feature the billowing, raga-ish folk of ‘La Rêvelinère’ and ‘Entre Moi’, which are woven from the same flaxen thread as much of the 1977 material, it would already be a wonder. But there are also signs that the techno experiments over the years (which include a collaboration with Etienne Jaumet, who also appears on the album) have left their mark – there’s an increase in bass weight in places, while ‘Delyade’ is run through with a steady synth pulse – and she gives free reign to her psychedelic impulses on ‘Epinette Noire’, with its spiralling sax and backwards-sucked percussion.Emmanuelle ParreninTargala, la maison qui n’en est pas uneJohnkôôl
62.
American Rituals is about as up my strasse as it’s possible to be – bare bones vocal constructions and vernacular post punk influenced by deep listening, and minimalism, basically. Consider that this might appeal to fans of Steve Reich, Michelle Mercure and Ut, and you should start getting the picture of the sound world contained. There’s something deeply foundational about the instruments Cheri Knight uses, and the lexicon in particular – primary colours, prime numbers – that assemble the tracks’ structures. There’s also nothing extraneous. Knight made the tracks on this album, which have previously been scattered among a variety of compilations, in the early ’80s. At this time she was part of the lesser-known DIY scene around Evergreen State College in Olympia, Washington, where she studied composition. She worked with Pauline Oliveros, performance artist Linda Montano, and later in the alt-country band Blood Oranges, before moving into flower farming. She also keeps goats.Cheri KnightAmerican RitualsFreedom To Spend
61.
I love a bit of head-nodding, beard-stroking contemplation with my music as much as anybody but every now and then I start to drift off, maybe forgeting how electric and thrilling it can be. Super Champon is the latest wake up call from Kyoto’s incredible Otoboke Beaver. Offering invigorating, light speed garage-core that scorches a smile onto your idiot face making everything else feel redundant for its terse twenty-odd-minute runtime, it presents a wonderful balance of melody and ferocity. Their tunes tap into a wide-eyed joy at the heart of their rage. Serrated guitar noise and complex vocal parts mix with an adrenaline-rush rhythm section in concentrated blasts. It goes straight to your head.
