#378

Malcolm Goldstein - Full Circle Sounding (Kye)



As the title suggests, Goldstein pushes technique to the point of degeneration and back again, all in service to the minutiae of the instrument. — David Keenan

#377

Alternative TV - Opposing Forces (Public Domain)



If true punk form is about doing something personal, intuitive and breaking from norms – something that almost everything that passes for punk is unwilling or unable to do – Perry is still doing it. — Mike Barnes

#376

André O. Möller & Hans Eberhard Maldfeld - In Memory of James Tenney (Edition Wandelweiser)



On this disc, [Tenney's] work is commemorated through the unlikely tromba marina, a single-stringed instrument with a minor place in medieval and Baroque music. — Andy Hamilton

#375

Tyondai Braxton - HIVE1 (Nonesuch)



“Outpost” is built upon what could be a set of jingle bells played by a flea, and sees fogs of indeterminate timbre engulf it. “Galaveda”, sinuous and gagaku-like, evokes Stockhausen being subjected to a shrinking ray. — Adam Harper

#374

Beatriz Ferreyra - GRM Works (GRM)



Despite her GRM background and pedagogical associations, and the fact that she operates within what to an extent has become an orthodoxy – electroacoustic music – Ferreyra manages to occupy an idiosyncratic position where she almost stands alone. — Richard Thomas

#373

Björk - Vulnicura (One Little Indian)



It is as if she has looked at her working practice, its tried and tested command of melody, texture and emotional mobility, and instead of abandoning it for something more ‘real’ now that shit’s got real, decided that this was what it was for all along – a survival mechanism as well as an artistic strategy. — Frances Morgan

#372

Runhild Gammelsaeter & Lasse Marhaug - Quantum Entanglement (Utech)



[T]he prolific noise veteran Lasse Marhaug asked reclusive vocalist Runhild Gammelsaeter, of Thorr’s Hammer, Khlyst and other groups, to collaborate on this tapestry of treated vocals and collaged rumblings. — Matt Krefting

#371

Rie Nakajima - Four Forms (Consumer Waste)



Rie Nakajima’s improvisations are made with small objects laid out on a table or a patch of floor: wind-up toys, glasses, sponges, wood, close-miked bits and pieces that she sets in motion, slowly adding to or taking away from the sound over the course of a performance. — Frances Morgan

2014

Wire 15 (2)
Logos - Cold Mission (Keysound)
Various - The Orchestra of Futurist Noise Intoners (Sub Rosa)
Anne Hytta - Draumsyn (Carpe Diem)
N.E.W. - Motion (Dancing Wayang) +#361
Sleaford Mods - Divide and Exit (Harbinger Sound)
Dub Spencer & Trance Hill - William S. Burroughs in Dub (Echo Beach)
Tom Chang - Tongue & Groove (Raw Toast)
Jacaszek & Kwartludium - Catalogue des Arbres (Touch)
David Ross & Clive Bell - Recovery Suite (Ini.itu) +#365
Electric Funeral - Total Funeral (Southern Lord)
Robert Curgenven - Sirène (Recorded Fields)
Oren Ambarchi & Eli Keszler - Alps (Dancing Wayang)
Darius Jones - The Oversoul Manual (AUM Fidelity) +#368
Pharmakon - Bestial Burden (Sacred Bones)
Mamoru Fujieda / Sarah Cahill - Patterns of Plants (Pinna)

record of the year
Mamoru Fujieda / Sarah Cahill - Patterns of Plants (Pinna)

#370

Mamoru Fujieda - Patterns of Plants (Pinna)



By transforming the signals into data and then into scores, Fujieda has crafted short, elegant pieces marked by lightness, nuance and openendedness. Their natural, non-musical origin shows through in their elliptical structure. — Matthew Wuethrich