#491/492-2

Dotz & DJ Goblin - Mirtazapine Dreams (True Unity)

[T]he palpable reality of tracks like “I Don’t Wanna Talk About It” and “Twelve Steps” impact deeper with their therapeutic barrage of hedonistic confession, cathartic nightmare and quasi-messianic fantasy. — Richard Stacey

#491/492-1

Tashi Dorji - we will be wherever the fires are lit (Drag City)

You would have to travel a long way to hear an acoustic guitar album as tough as this. — Derek Walmsley

2024

Wire 15 (12)
Barry Bermange / Delia Derbyshire / The BBC Radiophonic Workshop - Inventions for Radio (Silva Screen)
Masayuki Takayanagi New Direction Unit - Mass Hysterism in Another Situation (Black Editions)
Madison Greenstone - Resonance Studies in Ecstatic Consciousness (Relative Pitch)
Agustin Pereyra Lucena - Agustin Pereyra Lucena (Far Out) +#481
AMM - Last Calls (Matchless)
Liz Helman - The Colour of Water (Flaming Pines)
Misha Faulty - [incoherent imaging] (Multibody)
Ernest Berk - Diversed Tapes (HCR / NMC)
The Sea Trio - Live in Munich and Bonn (Confront)
Patricia Brennan Septet - Breaking Stretch (Pyroclastic)
Jeff Mills - The Eyewitness (Axis) +#487
Rrose x Polygonia - Dermatology (Eaux)
Alan Lamb - Night Passage (Room40)
Elephant9 with Terje Rypdal - Catching Fire (Rune Grammofon) +#489
Oranssi Pazuzu - Muuntautuja (Nuclear Blast)

record of the year
Patricia Brennan Septet - Breaking Stretch (Pyroclastic)

#490

04-01-2025 #490 Oranssi Pazuzu - Muuntautuja (Nuclear Blast)

[T]he seven tracks that form Muuntautuja boldly hint that Ornassi Pazuzu are on the brink of forging a new form of metal. — Edwin Pouncey

#489

Alan Lamb - Night Passage (Room40)

Night Passage (...) stands out as not only the pinnacle of Lamb’s work, but as a pinnacle in the field of field recording itself. – Spenser Tomson

#488

Rrose x Polygonia - Dermatology (Eaux)

It’s precise and dense, with meticulous sound design. — Yewande Adeniran

#487

Patricia Brennan Septet - Breaking Stretch (Pyroclastic)

The album represents a huge leap forward, firmly establishing Brennan as a fiercely original talent on the New York scene. — Peter Margasak

#486

The Sea Trio - Live in Munich and Bonn (Confront)

The three men distill different generational and aesthetic information into set-long, completely free improvisation. — Bill Meyer

#485

Ernest Berk - Diversed Tapes (HCR / NMC)

[W]hat transmits from his music is unflagging excitement at the distinctive soundworld he was opening up, and fascination with the possibilities offered by this new medium. — Julian Cowley

#484

Misha Faulty - [incoherent imaging] (Multibody)

[T]here’s also evidence of a steely sense of control here: the twisting, cutting and splicing of sound feels like a way of reclaiming agency in the face of a world unfit for need. — Louis Pattison

#483

Liz Helman - The Colour of Water (Flaming Pines)

Through electronic processing, she makes the clicks, chitters and hums of London glow through cathedral scaled buzz and drone. — Daryl Worthington

#482

AMM - Last Calls (Matchless)

Things rise, gingerly, and fall, a struggle to not struggle playing out in real time, capturing vulnerabilities rarely displayed so openly in improvised music. — Peter Margasak

#481

Madison Greenstone - Resonance Studies in Ecstatic Consciousness (Relative Pitch)

At times, it sounds like they’re chewing the mouthpiece, producing harmonica-like effects and a keening buzz. — Stewart Smith