Further. : Quarterly Report Q1 2019 & Playlist

Further. launched in January 2019. Its objective was to create a place where I could review things that caught my attention but which didn’t ‘fit’ Documentary Evidence, or where I didn’t get to cover that particular release for Electronic Sound.

During the first quarter of the year I reviewed 15 albums or singles, published one interview, and included a guest review written by Erasure’s Vince Clarke. It was a modest start to the blog, a testing of the water if you will. I will try harder during the second quarter.

Below is the full list of content published during the first quarter. There’s also an accompanying Spotify playlist including tracks from each record (where available on that platform), along with ‘Gallery’ by Californian electronic pop artist Dresage which completely passed me by at the time.


Kaada – ZombieLars (Soundtrack) (Mirakel Recordings)
Kamaal Williams – New Heights / Snitches Brew (Black Focus Records)
The Silver Field – Rooms (O Genesis)
TOTM – Bliss / Blurred (Flickering Lights)
Karolina Rose – Invicta (Violet Sunset Records)
Neu Gestalt – Controlled Substances (Alex Tronic Records)
Lucy Mason – Flashback Romance (self-released)
Hugh Marsh – Violinvocations (Western Vinyl)
Bayonne – Drastic Measures (City Slang)
Modular Project – 1981 (hfn music)
Evelyn Glennie/ Roly Porter – One Day Band 17 (Trestle Records)
Maja S. K. Ratkje – Sult (Rune Grammofon)
d’Voxx- Télégraphe (DiN) – reviewed by Vince Clarke
Kilchhofer / Anklin – Moto Perpetuo (Marionette)
Jonteknik – Electricity (The People’s Electric)

The Silver Field


Words: Mat Smith

(c) 2019 Further.

Kilchhofer Anklin – Moto Perpetuo

Over the past few years, Swiss electronic artist Benjamin Kilchhofer has quietly issued some fantastically interesting releases, culminating in last year’s eclectic and diaristic The Book Room for Toronto’s Marionette label. For Moto Perpetuo, Kilchhofer hooked up with Michael Anklin, whose adaptable drumming could be found on The Book Room. This session saw Kilchhofer sensitively interacting with his collaborator’s kit, using his modular system to augment and alter the varied percussive sounds that Anklin offered.

The result is a release containing seven idiosyncratic pieces that sit squarely between some of the most intricate of improvised music and adventurous, carefully-wrought electronics, with the results ranging from robust blocks of challenging sound to more complex, more meditative excursions. Throughout, there is a sense of Kilchhofer allowing Anklin to wander freely, sometimes adding obvious accompaniment and at other times being content to add subtle interventions that never detract from the underpinning structure.

The finest moments on this engaging collection arise on the skittish, unpredictable gestures of ‘Flor’ or the brooding, gloomy synthwork of ‘Unstet’. Like Benjamin Kilchhofer’s 2017 pairing with Hainbach, there’s a sense of this being a mere glimpse of the potentially infinite permutations possible from these intense interactions with Michael Anklin.

Moto Perpetuo by Kilchhofer Anklin is released by Marionette on March 15 2019.

Words: Mat Smith

(c) 2019 Further.