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.
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.
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.
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.
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.
Silvia TarozziCanti di guerra, di lavoro e d’amoreUnseen Worlds
66.
Geezers from three of my favourite bands in the last decade playing oily-denim tankard-raising riff mania that’d make the meekest wallflower want to crush a grape? Inject Left To Rot into my marrow! Erupt are fronted (and guitarred) by Al Smith, also of psychedelic hardcore lords Geld, and the rhythm section comprises Alessandro Coco, whose star turn for my money was in the brief, glorious Gutter Gods, and Kyle Seely, best known as a member of Philadelphia’s Sheer Mag. All those bands are fun as fuck and I’d be willing to bet this one is funner, to play in, than the lot: there’s nowt goofy about Erupt’s type of punk metal, even when the instrumental breaks approach upturned-baseball-cap crossover thrash territory. It’s just a dream assignment for anyone situated on extreme metal’s grimy fringes.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.
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.
