DIVERGION – TRIGOMORPH

Chance processes are the foundational layer of this collaborative release between Shane Hope (The Last Ambient Hero) and Rob Reeves (Kaleida / Bob’s Bakery). Two old school friends who had drifted apart, they were reconnected after Hope sold a synth on eBay, only for it to be acquired by Reeves. That randomness fed into Trigomorph, where they would use stimuli similar to the Oblique Strategies cards created by Brian Eno and Peter Chilvers in the mid-1970s.

Personally, I’m very grateful that Hope and Reeves reconnected. This is a powerfully atmospheric collection of five individual tracks, each one presented as two distinct versions – one by each member – that take in field recorded conversations, landscape sounds, drones and haunting, elusive melodies. The first version of ‘Viroclast’ has a poignant nostalgia, with a snippet of conversation across a naturalistic sonic landscape capturing an exchange between two walkers about memories of lockdown. Its second incarnation has a rough, angst-filled edge, full of discordant pathways, wavering Orb-esque synth spirals and resonant bass, all of which drop away toward the end as an inquisitive piano melody arrives. Released July 21 2025.

https://divergion.bandcamp.com/album/trigomorph

 

CRITICAL OBJECTS – REWIND

This one is special. A collaboration between Jules Straw (Pinklogik) and the anonymous Veryan, I can only hope this is a taste of a much bigger project between two friends and talented electronic artists. Outwardly, ‘Rewind’ is a slice of oven-hot, crisp synth pop, using the metaphor of the venerable cassette as a vehicle for Straw singing about catharsis and moving on from some unspoken event.

While it may have all the requisite characteristics of classic electronic pop – insistent drum machines, one note melodies, a fragile and emotive vocal – there’s something else here, some powerful atmospheric layer that has a critical impact on the track’s mood. That effect is reminiscent of Veryan’s shimmering ambient music, and once you identify it you begin to understand how balanced this collaboration is. The single is rounded-out with a remix apiece by Pinklogik and Veryan, each one tilting ‘Rewind’ to their individual styles. More, please. Released September 5 2025.

 

SOHO ELECTRONIC, VARIOUS VENUES (SEPTEMBER 27 2025]

Soho Electronic is a new electronic music festival featuring 20 artists performing in four venues in and around London’s Soho area, spearheaded by a live performance by Mute founder Daniel Miller. The performances were all focused on the endlessly adaptable possibilities of modular synthesis, spanning everything from delicate ambience to otherworldly transmissions to jazz to punishing noise. The festival also saw a brilliant, noir performance from Agnes Haus, whose Inexorable Ascent album for Penelope Trappes’ Nite Hive imprint is astounding. I covered the festival for Electronic Sound with my friend Andy Sturmey, who I’ve been covering concerts with since 2012. Full report and photographs below.

https://www.electronicsound.co.uk/reviews/soho-electronic-festival-review/

 

NIK KERSHAW, THE STABLES, MILTON KEYNES (SEPTEMBER 28 2025)

‘Don’t meet your idols,’ is advice I’ve chosen never to follow. And so it is that I met Nik Kershaw at my local concert venue, the fantastic Stables in Milton Keynes, at the end of September. He was touring his Musings & Lyrics show in support of a new book, where he’d perform songs, tell wry stories and offer insights into his creative process. Human Racing, his debut album from 1984, was the first album I owned, and I probably wouldn’t be writing at all if it wasn’t for that pivotal moment, listening to that cassette on my shitty Sanyo player as a callow seven year-old. I made a point of telling him that. I’d spoken to Kershaw in 2021 for an Electronic Sound interview in 2021, but had never met this idol in person. A treasured memory.

 

DEFINITELY, MAYBE… OR NOT AT ALL? : INSURING CONCERTS

This article is, I admit, a bit niche. Precipitated by the occasion of Oasis announcing their reformation and tour a year ago, and prompted by the question of whether the Gallagher brothers would be insured for losses if they broke up on tour, I set about exploring the world of concert insurance. The article was written for the Insurance Museum, a charity “working to discover and share with all audiences, the incredible story of insurance, past, present and future”. I’m a member. I have a badge and everything. I’m happy to talk about why insurance matters all day long. Find out if an on-tour bust-up would be covered at the link below.

https://insurance.museum/definitely-maybe-or-not-at-all-insuring-concerts

 

Words: Mat Smith

(c) 2025 Further.