Maria – Cor e Forma (2018)

Monster Jinx

• Hip-hop 
• Rap 
• Breaks 
• Urban music 
• Electronic music 
• Soul-hop 

Kummastav on kuulata hiphoppi ja räppi teistes keeldes väljaspool stiilile kodust inglise keelt. Eesti keeles on talutav Chalice ja Genka (võib-olla seetõttu, et tegu on pealtnäha muhedate tüüpide ja nende vaheda huumoriga naelapeade seinte tagumisega), aga nii-öelda karmide meeste joru tekitab hinges kohe trotslikku groteski. Teisalt ingliskeelsest maailmast tuleb põhiliselt rõlget autotune`tamist vinguva sõnumi edastamiseks, mis on kõike muud kui kutsuv (võib-olla hetkel enam ei tule – ei ole end uuendanud viimase aasta jooksul). Võib-olla on asi sügavalt isiklik, kuna hiphopp on stiilidest kõige sotsiaalsem – ja seeläbi antieskapistlik – keskendudes inim- ja sotsiaalsetele suhetele, mis hingele on mürk (enesepettus, kinnisideede sugereerimine, kahtlused, enese kallutamine ühes või teises suunas, manipuleerimine, egotripid, tundmuste võimendumine ja käitumuslik (üle)reageerimine)). Seetõttu esmajoones Flying Lotus`ega alguse saanud põhiliselt instrumentaalne, samas eksperimentaalne lohiseva biidiga hiphopp – mis omakorda on kahtlemata mõjutatud Boards Of Canada`st – on pigem vesi erakliku hinge veskile. Näiteks väga südamelähedane on Bulgaaria plaadifirma – mis hõlmab artiste üle ilma – Dusted Wax Kingdom`i pea viiesaja ühikuline diskograafia. Portugaallane maria (meessoost!) sama maa plaadifirma Monster Jinx`i all on loonud korraliku rütmide kaskaadi, milles on nii paitavat atmosfäärilisust kui kergelt söövitavat happelisust. Hea muusika on see, mis jätab hinge jälje; hea muusika on ka see, mis pärast kuulamist lahustub jääke jätmata. Käesolev 8-looline esindab pigem viimast kategooriat. Jäägid mürgitavad, jäägid takistavad apatheia poole püüdlemist. Tahad kulgeda kulgemata – ilmselt see album kaasa ei aita, kuna selle eesmärk on vallandada kuulajas värve, mustreid, kujundeid – esile kutsuda ja võimendada nende tajumist (kromesteesia). Intensiivne värvide tajumine pikaajaliselt tekitab hinges rahutust.

TANUKI – Kanji Title (2018)

Bandcamp

• Shibuya-kei 
• J-pop 
• Dance pop 
• Future funk
• Smooth jazz 
• Synth-funk 
• Electronic pop 

Vaadates TANUKI Bandcamp`i leheküljel artisti – kes teeb ilmselget japspoppi, samas elab Glasgow`s Šotimaal ja kolmandaks kannab Swoosh-särki, millel ilutseb NASA kiri – võiks arvata, et tegu on pesuehtsa kosmopoliidiga. Mis seal siis ikka – ka muusika kätkeb piiritletut ja piiridest väljumist – nagu on see J-pop`ile aastakümneid iseloomulik olnud. Ühelt poolt maine ja tantsuline, teisalt reaalsust moonutavad filtrid ja rohkem või vähem (ala)teadlikult himustatav kosmiline mõõde (NASA!) – soov väljuda ja saada taikonaudiks või areneda hoopis Frankenstein-küborgiks, et kiirendada suurest kiirguskoormusest täidetud ilmaruumi, et kaduda kuhugi...õigupoolest eikuhugi. Saada eimiskiks. Vahet ei ole – muusika kui katalüsaator, muusikast kui kütusest enesehävitamise teel jääb jutt. Elegantsem ja sügavam kui Swoosh`i trajektoor. Elu on lühike, aga kunst igavene. Kas need 12 minutit muusikat on tõesti kestvam kui keskmise Joosepi elu? Kindlasti – peaasi, et hiigelserverid tohutu infohulga all ei plahvataks. Kale neutron- ja prootonosakestega pommitav kosmos tundub selle digitaalse düstoopilise eelduse ja tingimuse kõrval paradiis olevat, on ju? Oleks planeet lame, saaks üle ääre alla hüpata ja minema putkata. Kuigi see 4-looline üllitis on üdini joviaalne ja justkui emotsionaalselt ülevoolav – tõepoolest, justkui… . Tõepoolest on selle kontrapunktiks vargsi hiiliv õud. Taara (a)vita! (brevis!!)

In Vitro – Transdimensional Woods (2018)

Nulogic

• Tech-house 
• Post-disco
• Tech-funk 
• Electronic music 
• Club dance 
• Electro-funk

 

I guess a term, "in vitro" refers at technical aspect, and "transdimensional woods" may be a hint at Ghostwood National Forest, the forest that surrounded Twin Peaks. In a word, a technical aspect superimposed upon sounds being imbued with profound mystics. More detailedly, techno and house related rhythmic patterns are propelled by funky touch as similarly as CAN's krautrock was propelled by funk on Soon Over Babaluma (1974). This bunch of 4 tracks comes from within the discography of Nulogic.

Ecovillage – Sacred World (2018)

Constellation Tatsu

Bandcamp

• Art pop 
• Baroque pop 
• Musique concrète 
• Chamber pop 
• Sophisti-pop 
• New Age 
• Ambient pop 
• Experimental pop

The Swedish duo of Emil Holmström and Peter Wikström provides a picturesque glimpse into an intimate life of indie music. More profoundly, what happens behind the veiled walls of advanced indie pop, being comparable with the path at the point of the second half of the 80s regarding Talk Talk and also more restrained moments of Simon Jeffes' led Penguin Cafe Orchestra come to mind. And if you implement imagination of how could sound Pygmalion (by Slowdive) in the middle of nature then it is for you. Bamboo flutes, bird chirping, gusts of wind, the flood of water, and exquisite swathes of sea waves are intertwined with lone guitar chords, sparse drumming and slowed-down strings. It is said by the Chinese if you want to learn to play the bamboo flute the best teacher for it is the wind. I guess the album may be a case of that learning process (particularly at Garden Of Bliss). All in all, superb revelation through sound and nature. It is an example of perfect New Age. The fabulous one is a notch in the discography of Constellation Tatsu.

Oculoss – Parallel Path (2018)

MiMi
Bandcamp

• Post-rock
• Avant-rock
• Experimental rock
• Ambient
• Minimalism
• Ambient drone
• Cowbell indie
• Ambient rock

There have been talks about the goodness and badness of recent musicianship in comparison to previous decades. In some sense, it is nonsensical because like the historical events the releases should be evaluated after decades to get a hint at their goodness. I am now very convinced that Slowdive's Pygmalion, Stereolab's Dots And Loops and Broadcast's Noise Made By People are superb issues, for instance. On the other side, this can be said only about few albums within Britpop. Of course, good music can be found today as well, though in underground circles only. Most mainstream acts most of them have who have loaned from the underground scenes have seriously failed because they are settled down in a huge distance from ideal pop (given that it must be the ultimate goal within the pop scene). Because of that, paradoxically, many old experimental albums used to sound more poppy than nowadays acts due to have put more catchiness in a song. MiMi Records represents something very special in the embodiment of Oculoss' 5-notch outing. It starts off with a loopy, minimalism-driven ambient track, scene 1221 to go on with more guitar-based sounds. It is silent and immersive and iterative yet enough mind-provoking on the other side to think of it supposedly a weird guitar technique must have been behind. As if modern classically presumed floating watery chords instead of the piano ones. Someone may call it post-rock, maybe cowbell indie. As if Lubomir Melnyk was sat down in front of electric guitar to implement his subtle touch instead of the keyboard. In a word, minimalism/rock/ambient come together to provide an amazing crossover album with a vibration. Pure bliss.

Gallo'84 – Shimano (2018)

Colectivo Casa Amarela

• Ambient
• Ambient drone
• Microtonal
• Minimalism
• Abstract

Seda suurepärast albumit kuulates mõtlesin, et mis kiirusega vuhisevad droonhelid mööda sünaptilisi kiirteid (või mis iganes teid pidi nad vuhisevad)– on see 18 m/s, 80m/s või 800m/s? Ilmselt kõik variandid on mõeldavad, sõltudes konkreetsest loost. Shimano on teatavasti firma, mis toodab jalgrataste detaile, aga ka õngedele spinningkettaid (koletiskalade püüdja Jeremy Wade kasutab Shimano omi). Veelkord – liikumine, sujuvus ja veatus. Siin ei ole kuigi palju lisada, arvestades et helide anatoomia kellelegi vaevalt korda läheb. Helide anatoomia üksipulgi vaadatuna ei tooda ka väärtust, kuna sünergiline resultaat ehk lõpptulemus ületab selgelt alghelide kogusumma. See on universaalne heli – hetkel kuulan seda päikeselõõsas, päike lagipähe paistmas ja mõõdukas tuuleke kuumust kõrvale juhtimas; teisalt olen enam kui täiesti kindel selle saundi sobivuses õhtusesse vööndisse. See on totaalne heli, küllastatuna jahedusest ja emotsioonidest, haarates justkui kõike ja samas jäädes ikkagi piiritletuks. Rokkmuusikas võiks selle vasteks olla kingapõrnitsemine, nt Slowdive'i kaks esimest albumit (ja kui hea on kuulata täisvõimsusel shoegaze-kontserti keskpäeval kolmekümnekraadises leitsakus!). Selle on välja andnud Portugali leibel Colectivo Casa Amarela.

Superalma Project – Dystopian Children (2018)

Bandcamp

• Avant-garde
• Neoclassical
• Art music
• Experimentalism
• Electronic music
• House
• Synth-pop
• Vaporwave
• Dark ambient
• Illbient
• Post-industrial
• Sampledelic

Käesoleva üllitise ja projekti taga on üksainus muusik Ivan Almeida, kelle jaoks – nagu meie kõigi jaoks – on olulised eksistentsiaalsed küsimused – kust tuleme, kuhu läheme; portaalideks on sünni- ja surmalävi, impulssi võimendab käesoleva elu elamise ja surelikkuse taaga tajumine. Eks albumi edenedes võib märgata helides intensiivsust, süngust ja paanilist kramplikkust kui võrdkuju surelikkuse mõttega harjumisest või siis vastupidi, harjumatusest. Stiililaiendusi on siin küll ja küll – vaporwave'i vaimust eksalteerunult põrkavat süntpoppi, nihestatud ambient'i, mis mõneks hetkeks näitab rokilikku palet, mis lõpuks osutub siiski košmaarseks hallutsinatsiooniks. Sämpledeelset kiikumist ühest kanalist teisse. Metahaussi – jäädes kinni house-muusika ühte potentsiaali, ühte lõksu; kõlades samaaegselt nii ülevalt kui ka irooniliselt (The Hopeless Timelessness). Kurjaendeline ambient, mis tõuseb kokku kukkunud tööstushoone varemete keskelt, täidetud mustast energiast, mis kogunenud pikkade aastakümnete vältel – elustades korraks selle, mis juba surnud oli. Sisemised pinged, viha, emotsionaalne dissonants, kadedus, kättemaksuiha. Helides emotsioonid kristalliseeruvad, muutuvad abstraktseks, mitteisiklikuks. Kuidas oleks võimalik surelikkusega leppida? Ikka loomise, loomingu, kunsti kaudu, millesse omakorda on kätketud algus, protsess, liikumine, tahtekindlus, kinnisideelisus, äratundmine, leppimine ja lõpetatus. Teatud mõttes iga teose loomine tähendab kunstniku jaoks läbielamist ja suremist, kuni ta taas tõuseb, alustades uut elu ehk uue teose loomist. Kuni saabub lõpp. Lõplik lõpp. Kuigi lõplik lõpp võib olla millegi uue algus. Aga see ei ole praegu meie teada. Kajakad vaid irvitavad.

Trescoli – Lluvia (2018)

Audiotalaia

Archive.org

• Musique concrète 
• Field recording 
• Experimental electronica 
• Avant-garde 
• Experimentalism 
• Sound art 
• Improvised music 
• Organic electronica 
• Avant-electronica 
• Toytronica

Comment: this course of four compositions stopping by exactly at the 32 minute is as relaxing as it is intriguing. While employing a toy piano, by manipulating it through an immense amount of electronic effects, filters or accompanying it with found sounds like the wind, a remote thunderstorm and rain in different appearances or just intensifying it with elaborated signal processing all the whole will result in a compelling yet effortless result. Emotively the work of the Spanish composer instigates at times neutral sensations due abstract sonic extractions or positive infantile sentiments due to more loosely improvising on the toy piano, at times it is quite gloomy due to using the sound of clocking which reminds of the church bells as a hint of death (the whining wind as a sign of emptiness in the background is about to make the sorrowful feel even starker). Paradoxically, at the recent time, at the time of Coronavirus the churches should be closed though. Lots of sonic patterns and elements used to run permanently through or clash with each other to constitute a second sonic thread as if describing the state of mind within the brain of a pain-trodden deranged human being. No one couldn't foresee back then what would have been happening in a less than a couple of years. Nonetheless this outing already did embrace this feel of havoc and despair and sorrow. The astounding issue is a part of the discography of Audiotalaia, another Spain-related outstanding phenomenon.

Bear in Miniature – Lettres à une rose (2018)

Spheredelic

Bandcamp

• Electronic 
• Modern classical 
• Epic 
• Field recording 
• Ambient 
• Post-classical 
• Art music 
• Musique concréte 
• Minimalism

Comment: this batch of 3 tracks composed by a Brazilian, Rafael Torres, represents itself through ethereal vowel effects and synthesised spherical string sections which have enough time and much space around to move on and provide different exquisite consummations for our pleasure. At times it is embellished with watery iterative piano chords and panned with suggestive concrete sounds which like a partial foundation on it constitute phat patterns in sound and tempo. In fact, the description of mine is way too linear, way too one-dimensional by let blotted out the true nature of this wondrous issue being released on Spheredelic Records. It is like using the second derivation (the words) to describe the first derivation (the music) on describing the beauty of the Nature. Far out! The opening track L'esprit de l'ange chimes like a series of still extracted from a lightning-spiked evening which is imbued with tangible sultriness and palpable dampness. The abovementioned iterative piano keys sound almost psychedelically and definitely ennoblingly at the same time thanks to the compelling groove within. Excelente!

Jan LF Strach – Balearen Kanaren E.P. (2018)

Underpolen

Bandcamp

• Dubtronica
• Lo-fi
• Outsider pop
• RIO
• Sampledelic
• Progressive
• Avant-garde
• Zeuhl
• Avant-prog
• Synth-rock
• DIY
• Electronic

Comment: given that the word “stra(c)h” does mean “horror” in most Slavic languages and given that he has been around for years to reinterpret theoretical common sense understanding or prejudice of how a usual music style should sound then I guess the 6-track Balearen Kanaren might ring in a way we have had no comprehension so far. In fact, what are our expectations, what are our understanding of it? Balearic music is obviously depicted as a sort of sunshiny music but LF`s sound is morose, muddy and refracted as if chopped up in a busted-up tape recorder and then the tape pasted anew. One can hear some sort of progressive rock patheticness as if getting it from the body of work of his famous fellow countryman Czeslaw Niemen yet underpinned on behalf of the skulking RIO and Zeuhl scene. Where is the reason and where is an output could someone hint at precisely? You can hear enough electronic and guitar mixed noodling of progressive rock band until it turns either into a bit grating yet carnival-alike easy, humor-infused electronic templates or an unexpected dub-alike undertaking (Neighbourinna). One can find out lots of slight contradictions, conflicts, tensions but we call it playfulness of the game, isn`t? Horrendous playfulness of the game regarding the recent case being released on Underpolen.

Bing Satellites – Breathe - Sleep Music volume one (2018)

Bandcamp

• Ambient 
• Minimalism 
• Microtonal
• Microsound 
• Epic 
• Abstract

Comment: Bing Satellites is the nom de plume of Mancunian Brin Coleman (also known behind such projects as Ethereal Ephemera, Kowalski Room, The Ambient Visitor, The Lovely Room, Theta Wave Orchestra) who is being known as a musician, producer, filmmaker and imprint owner (BFW Recordings which seems to be defunct now though). As Bing Satellites he has produced music similar to post-shoegaze/electronic shoegaze/indietronic/(neo)krautock artists ((Twilight Sessions Volume Eight (2011), The Dream (2013)), especially in the first half of the 10s, however, his late sound is based on distilled floaty soundscapes which likeably used to shift the listener's perception on time and space and sonorous perception in general. Breathe consists of just one, 79-minute composition which is as beatific as heaven above the clouds. Given that the less is more aesthetic then any turn and additional element to the soundscape brings forth a tectonic change even if it is perpetrated with barren abstract sounds like hums and hisses and electronic snippets stripped away from emotions and moody elements. The more one listens to it the more it turns into an immanent flow of transcendence and Brin Coleman is a best one excelling at. Superb.

Potential DifferenSe ‎– Coinchain (2018)

Cota303
Cota303

• Techno 
• IDM 
• Electronic music 
• Synth-pop 
• Kraut-techno

Comment: Sankt-Peterburg-residing, Russian Ivan Luchkin aka Potential DifferenSe's 5-notch outing is a dynamic tight blend of intricate techno, mellifluous IDM, and melodic synth-pop drives. Retrospectively it does mean hinting back at the glorious tradition of obsessively beatific motorik krautrock vibe a la Neu!. Yeah, the whole is trance-inducing and at the same time somehow inhibitory due to its deliberately interrupted and hopping nature. The great outing is a part of the imprint COTA 303.

Philipp Bückle – Paintings (2018)

Moving Furniture

• Folktronica 
• Organic electronica 
• Post-rock 
• Modern classical 
• Art music 
• Post-classical
• Electro-acoustic
• Ambient pop 
• Glitchtronica 
• Electronic music 
• Field recording 
• Drone
• Post-classical
• Abstract 
• Avant-garde 
• Experimentalism 
• Musique concrète

Comment: this bunch of 12 tracks is something which makes you feel ennobling and purgative. For me as a listener this would be an ideal pop case in an ideal world. It is uncompromising and incisive by channelizing familiar and daring where soaring faint harmonies and semi-melodies and exquisite sonic manipulations are seamlessly intertwined with one another. As a punching sonic fist which includes so many layers to be grasped for it needs many listening times in any cases. In spite of it there remains something mysterious ultimately. From subtle piano-induced contemporary classical progressions and broad ambient plateaus and subliminal folktronic and post-rock soars to field recording drenched soundscapes and abstract hisses and daring static. The issue is out of the discography of Moving Furniture Records.

Moki Mcfly – Silom (2018)

blocSonic
Archive.org
Bandcamp
 

• Hip-hop 
• Sampledelic 
• Urban music 
• Cinematic 
• Trip-hop 
• Ethnotronica 
• Psychedelic 
• Lo-fi 
• DIY 
• Mood music 
• Easy listening 
• World fusion

Comment: this 14-notch release being a part of the discography of blocSonic Records is a mesh of instrumental hip-hop rhythms and cinematic orchestrated beats. There are represented other sort of cadences as well, at Tuk Tuk Dub one can hear the churning of surf guitars; at Chang's a psychedelic organ gear and a weak Far East flavour comes to the surface. Aesthetically it is imbued with lo-fi and DIY attitude. Furthermore, in many tracks an exquisite ethnic music touch is added to the mix. All in all, a listener can hear a blissful mix of the aforementioned elements and a wondrous vibe running throughout the whole course. Great.

Sean Nicholas Savage – Screamo (2018)

 
Bandcamp

• Singer-songwriter 
• Alternative pop 
• Soul 
• DIY 
• Indie soul 
• Sophisti-pop 
• Synth-pop 
• Cinematic

Comment: screamo, indeed, but it is not screamo as music style at all represented within the course of 12 tracks. Maybe it is a screamo of desperation in soul being induced by urge for love and intense dislocated longing. It may be because the Canadian troubadour continues stubbornly walking the same path he has done so far. And that's good because I could not imagine him by getting no hold of DIY-tinged soul being saturated with honest feel and sheer depth. I can remember him for performing at a small indie festival in a small town at the beginning of the 10s, the Sun had already set down while he was performing in front of approximately 2500 attendants being barefoot and surrounded by little flying vampires. Yeah, it was an astounding performance, it was the first class entertainment by him.

While he does not use much instruments and magniloquent gizmos to bring a listener the impact for any element represented here is thoroughly accentuated and emotively saturated. It may represent a screamo in his soul but it involves a lighthearted cinematic feel to solace me as a listener. Top tier which as usual as Sean Nicholas Savage used to be is related to an imprint called Arbutus Records.

VIIRGILE – Abandon all hype ye who enter here (2018)

 

Vaatican

Bandcamp

• Electro pop 
• Breakcore 
• Electronic music 
• Alternative dance 
• IDM 
• Experimental electro 
• Glitchtronica

Comment: rusty shrieks, metallic rattles, amplified industrial hisses, incisive digitalised noises which at times are quite hostile are varied with sublime evocative melodies and vivid rhythmic combinations to an exuberant extent within the concept of a playful music production. This 17-notch issue embraces a whole universe of diverse yet integrated cadences, sonic experiments and frantic visions. It is all about how to domesticate austere bleak sonic bits into a tractable blossoming oasis. More profoundly, it used to rotate about an electro dance with an innumerable amount of dodges and branches into such styles as industrial, noise, and glitchtronica. The overwhelming outing is a part of the discography of Vaatican Records.

₦ihilis₮ – untitled (2018)

MNMN

Bandcamp

• Illbient 
• Electronic music 
• Breakbeat
• Breakcore 
• Techno 
• Experimental techno 
• Dark ambient
 

Comment: this 7-track outing unveils like an ominous, mystical thing slowly surfacing from the bottom of darkness. Upper layers are imbued with a bright, glaring light, the sort of light brought to us by Lucifer which in turn are amplified by sultry, very tight broken beats in the frequency of breakbeat and techno. The listener can perceive a shitloads of intriguing progressions inside the rhythms and outside on the flank of it like a thousands of legions were dancing around the backbone of The Fallen Angel. This great issue is a part of the discography of MNMN (aka Monumental) Records.

Dark Frequencer – Hypnotica (2018)

Petroglyph Music

• Ambient techno 
• Electronic music 
• Organic electronica 
• Dreamwave 
• Field recording 
• Kosmische Musik 
• Musique concrète

Comment: this batch of a couple of tracks being released on Petroglyph Music is illustrated with the cover print of a girl being wrapped up in blue and green-tinged reveries. Part 2 is a sultry blend of hypnagogic techno rhythms, meandering spaced-out synths over a maiden's suggestive vowels as if a dreamy version of krautrock (which is called Kosmische Musik then and the revamped, stark hypnagogic elements paved version of it as dreamwave now). Its exquisite iterative pattern is simply overwhelming. Part 1 shows off more muscles due to a more pounding, incisive rhythmic bone which is surrounded by hypnotic iterations on synths and faint field recording vapor and volatile girlish murmurs. In a word, it is an outstanding release with a practical, remedial power. Try it as the tincture to fall asleep. There is another world, there is a better world. (And if you wake up thereafter then continue with Amon Düül II's Mozambique which does provide an astounding proto-Stereolab feel).

CRANK STURGEON – v 12 10 18 (2018)

Attenuation Circuit

• Experimental electronica
• Avant-electronica 
• Electronic music 
• Improvised music 
• Performance art 
• Sound art 
• Live

Comment: the US-based artist CRANK STURGEON's almost a half-hour performance at a villa in Augsburg, Germany makes me think of it as an example coming out of a compilation of noise and electronic music compilation by an imprint, Sub Rosa. It chimes like an installation or radio play executed by a very early electronic musician. I have listened to it twice in a row and the second round was a quite different experience in my perception. First it sounded like a communication act between aliens who deployed their station behind a junkyard somewhere at a very remote distance full of slagged-down glitched-out sonic bits which may hurt you if you get really into it. Something which you are not able to decipher off. At the very rear part of the composition one hear zombie-alike moans as if a possible perspective of depravity and deprivation regarding the human race. By the way, the issue being released on Attenuation Circuit includes the live of this performance at Youtube made up of thrift store electronics, clothes of supermarket aesthetics and incongruous practices.

The Hirundu – Git Biscuits 2: More Git Biscuits (2018)

Pitch And Putt

Bandcamp

• Electro-funk 
• Lo-fi 
• Funk 
• Outsider music 
• Alternative dance 
• DIY 
• Electronic music 
• Funk rock

Comment: The Hirundu (from Blackpool, the United Kingdom) is an oblique DIY/lo-fi act which is being underrated so far. They started creating music after seeing a Happy Mondays` show on TV in 1987. Later, at a time onward the combo would have been continuing as a one-man-project led by Johnny Crewdson. However, he has preserved the quality and quantity of The Hirundu by magnifying obsessively new stylistic slots and reshaping mental impact. As I said being underrated so far because they started creating bedroom-tinged psychedelic vanguardian pop a decade earlier than Ariel Pink, for instance. Both aforementioned artists used to reject the concept of time and any stylistic tags and a sustainable amount of humor within it. For the beginners I recommend listen to No Preservatives (1989), and Uneasy Listening (1994) which are stylistically quite different from one another yet related to one another by uncompromising zeal and experimental intent. One could listen to the discography through the artist`s own site Pitch And Putt and Bandcamp. To illustrate the project one can imagine as if Captain Beefheart, Bruce Haack, Jack Smith, Delia Derbyshire, Cabaret Voltaire, CAN, The Fall would have met at a remote crossroad for to start a brawl. Git Biscuits 2 is a 5-track part of the Biscuits trilogy either providing steeply broken funk (rock) with lulling feel or immersing in more synthetic, air-reduced and spasm-filled sequences as if doing away with clear-cut rhythm (although Johnny Crewdson does), however, the veiled rhythm oozing out of the structure propels it forward. Yeah, its greatness reminds of an exploratory branch of the 90s electronic music full of erratic playfulness and frantic aspiration. Last but not least – I was already unfortunately thinking of getting a year without any release by The Hirundu but at the very rear part of the last year there would be released an issue called Tantalus. In a word, keep going on by both sides.