On an independently released 30-minute EP, Angel Marcloid slightly recalibrates her uber-maximalist sound to be both lighter and heavier at its extreme poles.

by Charlie Wilmoth
The Austrian trio Radian is a post-rock/electronic group who uses both acoustic and electronic instruments. The group's members often play even their acoustic instruments in such a rhythmically precise manner that Radian sounds more like an electronic act than a band.
Radian -- which includes bassist John Norman, drummer Martin Brandlmayr, and synth player Stefan Németh -- formed in Vienna in 1996, although the group did not play its first show until a full year later. Soon after, the Rhiz label released the group's self-titled EP in Austria. The group's first full album, TG11, was released jointly by Rhiz and Mego in 2000. In 2002, Radian traveled to Chicago to record with producer John McEntire, and the Thrill Jockey label released the resulting full-length, rec.extern, later that year. Rec.extern was the first Radian release to receive widespread distribution in the U.S., and in October 2002 the group toured the Northeast and Midwest to support the album. Juxtaposition saw Radian team up with John McEntire again and was released on Thrill Jockey in August of 2004.

EVERYWHERE AT THE END OF TIME (COMPLETE EDITION)
When work began on this series it was difficult to predict how the music would unravel itself. Dementia is an emotive subject for many and always a subject I have treated with maximum respect.
Stages have all been artistic reflections of specific symptoms which can be common with the progression and advancement of the
different forms of Alzheimer's.
Thanks always for your support of this series of works
remembered by The Caretaker.
Physical editions of all stages on both vinyl and compact-disc
are available now and are being distributed by Boomkat.
boomkat.com/labels/history-always-favours-the-winners
May the ballroom remain eternal.
C'est fini.
--
STAGE 1 - (A+B)
Here we experience the first signs of memory loss.
This stage is most like a beautiful daydream.
The glory of old age and recollection.
The last of the great days.
STAGE 2 - (C+D)
The second stage is the self realisation and awareness that something is wrong with a refusal to accept that. More effort is made to remember so memories can be more long form with a little more deterioration in quality. The overall personal mood is generally lower than the first stage and at a point before confusion starts setting in.
STAGE 3 - (E+F)
Here we are presented with some of the last coherent memories before confusion fully rolls in and the grey mists form and fade away. Finest moments have been remembered, the musical flow in places is more confused and tangled. As we progress some singular memories become more disturbed, isolated, broken and distant. These are the last embers of awareness before we enter the post awareness stages.
STAGE 4 - (G+H+I+J)
Post-Awareness Stage 4 is where serenity and the ability to recall singular memories gives way to confusions and horror. It's the beginning of an eventual process where all memories begin to become more fluid through entanglements, repetition and rupture.
STAGE 5 - (K+L+M+N)
Post-Awareness Stage 5 confusions and horror.
More extreme entanglements, repetition and rupture can give way to
calmer moments. The unfamiliar may sound and feel familiar.
Time is often spent only in the moment leading to isolation.
STAGE 6 - (O+P+Q+R)
Post-Awareness Stage 6 Is without description.
--
All stages featuring cover art imagined and painted by Ivan Seal.
All stages mastered by Lupo at Calyx in Berlin.
All stages were released on Vinyl and Compact Disc via
'History Always Favours The Winners'.
Distribution of Vinyl and CD's by Boomkat.

Experiential composer Tim Hecker’s ninth official full-length, Konoyo (“the world over here”) was largely recorded during several trips to Japan where he collaborated with members of the gagaku ensemble Tokyo Gakuso, in a temple on the outskirts of Tokyo.
"Inspired by conversations with a recently deceased friend about negative space and a sense of music’s increasingly banal density, Hecker found himself drawn towards restraint and elegance, while making music both collectively and alone.
As with the Icelandic choir he arranged on 2016’s Love Streams, the heights of Hecker’s talent emerge in his manipulation of source material, bending and burnishing it into fantastical new forms. Keening strings are stretched into surreal, pixelated mirages; woodwinds warble and dissipate as fractal whispers of spatial haze; sparse gestures of percussion are chopped, isolated, and eroded, like disembodied signals from the afterlife. Both in texture and intent, Konoyo conjures a somber, ceremonial mood, suffused with ritual and regret. Visions flutter and fade; dreams gleam and decay.
Hecker will stage a series of special performances in tandem with the album's release, featuring members of the gagaku ensemble on shō, ryuteki and hichiriki, accompanied by Kara-Lis Coverdale."

A huge return from a total icon. With a career spanning nearly four decades, Kim Gordon is one of the most prolific and visionary artists working today.
A co-founder of the legendary Sonic Youth, Gordon has performed all over the world, collaborating with many of music’s most exciting figures including Tony Conrad, Ikue Mori, Julie Cafritz and Stephen Malkmus. Most recently, Gordon has been hitting the road with Body/Head, her spellbinding partnership with artist and musician Bill Nace. Despite the exhaustive nature of her résumé, the most reliable aspect of Gordon’s music may be its resistance to formula. Songs discover themselves as they unspool, each one performing a test of the medium’s possibilities and limits. Her command is astonishing, but Gordon’s artistic curiosity remains the guiding force behind her music.
+ The indie version is very limited and pressed on white vinyl.
+ Preorder No Home Record and we'll enter you into a draw to win a special limited edition 12” version of the new track ‘Sketch Artist’, backed with the previously released ‘Murdered Out’. These 12”s are limited to 500 worldwide and are individually hand-stamped with a bespoke design drawn by Kim.
It makes sense that this “American idea” (as Gordon says on the agitated rock track “Air BnB”) of purchasing utopia permeates the record, as no place is this phenomenon more apparent than Los Angeles, where Gordon was born and recently returned to after several lifetimes on the east coast. It was a move precipitated by a number of seismic shifts in her personal life and undoubtedly plays a role in No Home Record’s fascination with transience. The album opens with the restless “Sketch Artist,” where Gordon sings about “dreaming in a tent” as the music shutters and skips like scenery through a car window. “Even Earthquake,” perhaps the record’s most straightforward track embodies this mood; Gordon’s voice wavering like watercolor: “If I could cry and shake for you / I’d lay awake for you / I got sand in my heart for you,” guitar strokes blending into one another as they bleed out across an unstable page. Front to back, No Home Record is an expert operation in the uncanny. You don’t simply listen to Gordon’s music; you experience it.

Blanck Mass is the solo project of Benjamin John Power. The Fuck Buttons musician has been making music under the moniker since 2010. His self-titled debut was released on Mogwai’s Rock Action in 2011. Described by Fact Magazine as “simultaneously soothing and sweepingly grandiose, esoteric and surprisingly accessible”, the album was an elegant, introspective departure from the stadium electronica he had become known for. In 2012, ‘Sundowner’ – the second track from the album – soundtracked the London Olympics Opening Ceremony. The song was chosen by Underworld’s Rick Smith and performed by London’s Symphony Orchestra to 900 million people worldwide.

恐怖份子呀！最接近群眾的一次(還是很恐怖)。

Keiji Haino is a Japanese musician and singer-songwriter whose work has included rock, free improvisation, noise music, percussion, psychedelic music, minimalism and drone music. He has been active since the 1970s and continues to record regularly and in new styles.

Alva Noto、池田亮司、ミカ・ヴァイニオ。
世界の電子音響～エクスペリメンタル・シーンに多大な影響を及ぼす巨星３人による2002年のコラボレーション・ライブが初音源化！
ドイツ電子音響レーベルRaster-Noton再編成後、Alva Noto主宰レーベルとなる【NOTON】がついに再始動。
再始動第１弾となる本作は、2002年9月23日にイギリス・ニューキャッスルのバルティック・センター・フォー・コンテンポラリー・アーツで行われた、アルヴァ・ノト、池田亮司、そして故ミカ・ヴァイニオの３人による素晴らしいパフォーマンスをキャプチャーしたライブレコーディング作品。ドイツ、日本、フィンランドの電子音響～エクスペリメンタル・シーンを代表する3人が共演した最初で最後のコンサートとなったこの録音は、2017年4月に53歳の若さで惜しくも他界したPan Sonicのメンバーでもあるヴァイニオへの追悼盤としてリリースされる。
「ミカは友人やコラボレーターとしてだけではなく、アーティストとしても私の作品にとってのインスピレーションでした。このリリースは我々の作品への彼の貢献を称えるものです。」とアルヴァ・ノトことカールステン・ニコライは語る。
電気や静電気、機械のハムを彷彿させるエレクトリックでインダストリアルな音の要素は、芸術的で繊細なテクニックを持った熟練の匠たちの手によりエレガントに支配され、深みのある超低音ベース、高圧で無機質なアンビエンス、なめらかで空間性のあるサウンドデザイン、機械のように反復を繰り返すリズムへと構築され、3人の個性と特徴が驚くほどに素晴らしいバランスで融合されたミニマルかつパワフルなパフォーマンスが展開される。45分に渡るパフォーマンスの幕を閉じる圧倒的なインダストリアル・ノイズの壁は聴くものに高揚感と強烈な余韻を与えるだろう。