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Wilderness of Mirrors is the new album from Lawrence English. It is two years in the making and the first album created since the release of his 2011 ode to J.A Baker’s novel, The Peregrine. It is English’s most tectonic auditory offering to date, an unrelenting passage of colliding waves of harmony and dynamic live instrumentation.
The phrase, wilderness of mirrors, draws its root from T.S Eliot’s elegant poem Gerontion. During the cold war, the phrase became associated with campaigns of miscommunication carried out by opposing state intelligence agencies. Within the context of the record, the phrase acted as a metaphor for a process of iteration that sat at the compositional core of the LP. Buried in each final piece, like an unheard whisper, is a singularity that was slowly reflected back upon itself in a flood of compositional feedback. Erasure through auditory burial.
Wilderness Of Mirrors also reflects English’s interests in extreme dynamics and densities, something evidenced in his live performances of the past half decade. The album’s overriding aesthetic of harmonic distortion reveals his ongoing explorations into the potentials of dense sonics.
“During the course of this record,” English explains, “I was fortunate enough to experience live performances by artists I deeply respect for their use of volume as an affecting quality, specifically Earth, Swans and My Bloody Valentine. I had the chance to experience each of these groups at various stages in the making this record and each of them reinforced my interest in emulating that inner ear and bodily sensation that extreme densities of vibration in air brings about.”
The album is moreover a reflection on the current exploitation of the ideals of the wilderness of mirrors, retuned and refocused from the politics of the state, to the politics of the modern multiplex. The amorphous and entangled nature of the modern world is one where thoughtless information prevails in an environment starved of applied wisdom. Wilderness Of Mirrors is a stab at those living spectres (human and otherwise) that haunt our seemingly frail commitments to being humane.
“We face constant and unsettled change,” English notes, “It's not merely an issue of the changes taking place around us, but the speed at which these changes are occurring. We bare witness to the retraction of a great many social conditions and contracts that have previously assisted us in being more humane than the generations that precede us. We are seeing this ideal of betterment eroded here in Australia and abroad too. This record is me yelling into what seems to be an ever-growing black abyss. I wonder if my voice will reflect off something?”
Wilderness Of Mirrors is reflection upon reflection, a pure white out of absolute aurality.

Tomas Barfod released his debut solo album back in 2012, a sophisticated mesh of electronics called Salton Sea. Lauded by the likes of Pitchfork, Dazed & Confused and Gorilla vs Bear, the acclaim took Barfod slightly by surprise but its success has paved the way for the follow-up, Love Me, an album that takes Barfod's spirit of adventurousness and raises the stakes. Utilising a supporting cast that includes a string and brass section, and musicians like Here We Go Magic's Luke Temple and long-term collaborator Nina K. on vocal duties, it's a multi-layered album that effortlessly pushes and pulls dance and electronic music into a myriad different shapes.
Barfod was first exposed to the indefinable lure of the electronic music scene not by clubbing (that came later), or by specific acts, but by a long-forgotten film featuring a section set in a club. "I think it was after I watched a bad movie about raves in the 1980s" he laughs. Early musical influences ranged from the likes of Goldie, Massive Attack and Portishead, to Goa trance and techno, before drifting into house and disco. These influences subsequently manifested themselves in the acid disco-inspired club-bangers Tomas released as Tomboy via Gomma records and the ambient techno he unleashed on Kompakt.
He had about ten years of musical experience before he started making his own music, part of which came in the shape of his band, WhoMadeWho, who he formed in 2004 alongside two fellow Danes, guitarist Jeppe Kjellberg and singer and bassist Tomas Høffding (Barfod plays drums and produces).
These new songs are precise, more defined and ultimately crafted into more fully-formed songs. While still keeping his debut's intimate delicacy and beautiful sense of fragility, this follow-up is also more audacious, as showcased on the sweeping strings of the lovely "Aftermath". This coalescing of the real and the analog is also highlighted by the guest vocalists, who range from long-term collaborator Nina Kinert on the lovely electro-squelch of "Pulsing" and the bouncing electro-pop of "Busy Baby," Winston Yellen on the luscious "Sell You" and American singer-songwriter Luke Temple on the poignant "Bell House". From the start Barfod was acutely aware that in order for these songs to come to life they needed to have vocals, even if piecing it all together was like finishing a puzzle. Love Me is many-textured, endlessly rewarding, an organic-sounding electronic album utilising real heart and soul.

Arthur Morgan "Arto" Lindsay is an American guitarist, singer, record producer and experimental composer.

Yann Tiersen releases a brand new album, ∞ (Infinity), on 19 May 2014.

Here it is: Damon Albarn's next solo album has been announced. The "sort of folk soul" project (as he described it to Rolling Stone), made with the help of XL Recordings head Richard Russell, is called Everyday Robots. It's out April 28, Revolt reports.

First a roar steadily builds, then we hear the first piano tone of The Unknown - along with the voice of Dominique Dillon de Byington. There it is again, the unique timbre of the young Berlin-based artist who captivated the music press and arts critics alike with her 2011 debut album on BPitch Control This Silence Kills.
With songs like Tip Tapping , Thirteen Thirtyfive and You Are My Winter Dillon, originally from Brazil, left an impression on more than just the indie scene. This Silence Kills was sweet and enticing enough to establish itself as a pop record with singer-songwriter passion and experimental enough to be taken seriously as an art project. It was described as chanson-pop, sensuous electronic music featuring a voice comparable to Feist, Björk or Joanna Newsom. There followed two sold-out tours and numerous festival gigs all over the world a life on the road. For Dillon this was completely unexplored territory. The Unknown is not only the first song she wrote for her eponymous second album, it is how Dillon evokes that thing in life that has no name, no description no boundaries. The Unknown can be anything: longing, love, loss, transience, fear or desire. In keeping with the cover art for The Unknown the twelve new tracks have a more direct, natural and candid feel: The lyrics are a lot more abstract and open, although they are just as personal and introverted, says Dillon about the songs she wrote between May and November 2013. Tracks like In Silence and 4ever are sometimes pensive, they exude this profound contemplation which must not always be characterised as melancholy. Whereas the majority of the debut album, with all its melodies and arrangements, had been written before it was recorded, The Unknown came about more as a conceptual work. Yet despite the new approach, it should still be understood as a sequel to The Silence Kills. The foundation for album number two was laid within three weeks at the same studio and even in the same room of Clouds Hill Recordings in Hamburg. Once more she worked with Thies ynther (Phantom/Ghost) and Tamer Fahri Özgönenc (MIT): I didnt see any sense in working with someone else. Back then we began a dialogue that, in my eyes, was never concluded.

Our lad John P. Dwyer has been lancing eardrums with Thee Oh Sees in an ever-escalating flurry of records for the past six years. Since the release of The Master s Bedroom Is Worth Spending a Night In announced a new loud era (and excepting a few momentary detours into home-baked territory Dog Poison and Castlemania, for example), Dwyer and company have pum- meled a bit harder each time out, cementing their reputation as a live force to be reckoned with and leaving legions sweaty and bruised in the process. Late last year, after years of relentlessly touring the world, the word got out... Dwyer s moving to Los Angeles (fear not, still California!) and Thee Oh Sees are taking a much-needed hiatus with a shifting of gears ahead and a new album on the way. This is that album. Drop was recorded in a banana-ripening warehouse (no joke) with hair-farming studio warlock Chris Woodhouse playing drums; it s also graced with the presence of talented gurus Mi- kal Cronin, Greer McGettrick and Casafis adding horns and vocals. The result pushes the familiar polarities of the group far- ther outward than ever before. Opener Penetrating Eye might be the heaviest Oh Sees song yet, Transparent World and Put Some Reverb On My Brother foam with seasick fuzz, and yet the ballads, like the harpsichorded King s Nose and the lush and stately closer The Lens, extend their oeuvre into mello- tronic, far-out pop with delicacy and grace. This schizophrenia heralds the man and the band into an un- seen future in classic Dwyer fashion restless energy harnessed into exquisitely crafted jams, with an emphasis on the pensive and the paranoid in turns.