Tag: Soundtrack

Shots: wræżlivøść / Snowdrops / Rupert Lally / Dogs Versus Shadows & Nicholas Langley / Stephen Reese / Everyday Dust

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WRÆŻLIVØŚĆ – WRÆŻLIVØŚĆ

wræżlivøść is a Polish pianist and sound artist. His debut three-track release was recorded in Poland, Denmark and the US, and fuses classical piano with extreme sound processing. The result is an EP that is in constant flux, with moments of noise intersected by meditative piano – some of it recorded from his graduation concert at Det Jyske Musikkonservatorium in Aarhus in April of this year – and long, ambient drones pulled out of the myriad sound sources. It is at once chaotic and beautiful, its different textures and sequences being sliced together with rough and sudden cuts that make each track wonderfully unpredictable. The ten-minute ‘wræżlivøść II’ is a marvel, ranging from ear-splintering bursts of noise to dexterous notes, finally collapsing into quiet and soothing textures generated from rippling piano reverberations. Released 27 September 2024. Thanks to Phil Dodds for the recommendation.

https://wraezlivosc.bandcamp.com/album/wr-liv

SNOWDROPS – SINGING STONES (VOLUME. 1) (Gizeh)

Snowdrops are a duo of Christine Ott (ondes Martenot, xylophone, piano) and Mathieu Gabri (piano, keyboards, electric hurdy-gurdy, vibraphone) who make music that leans into the expansive realm of modern classical music. Their sound is, however, hard to pin down, offering a compelling symbiosis of electronics and classical reference points with an evenness that few operating in this genre are prepared to offer, instead favouring a light spraying of synths over relatively traditional playing. The centrepieces of this collection are ‘Crossing’ and ‘Arctic Passage’. Both are long and evolving pieces that the duo have performed for a few years. ‘Crossing’ begins and ends with delicate circular motifs, but at its height is a rousing, stentorian piece where electronic threads and resonant piano collide. ‘Arctic Passage’ is darker, containing drone-y electronic textures that sound like grim frozen winds across the tundra, and sprinkles of brittle melodies and ondes Martenot fluctuations. Elsewhere, the beguiling ‘Ligne de Mica’ is a deep listening exercise for ondes Martenot, analogue synth and Bartosz Szwarc’s accordion, its gentle interwoven undulations taking on a mysterious, unknowable quality where individual elements are barely distinguishable from the next. Another beautiful and engaging release from this remarkable duo. Released 25 October 2024.

https://snowdrops.bandcamp.com/album/singing-stones-volume-1

RUPERT LALLY – THE OWL SERVICE

The Owl Service is Rupert Lally’s seventh soundtrack to accompany a book. His first was for J.G. Ballard’s High Rise, and the intermittent series has taken in William Golding’s Lord Of The Flies and Frank Herbert’s Dune. This time he attaches his compositional nous to Alan Garner’s 1967 award-winning children’s book. At the risk of repeating myself, only with different words and different context (last time it was about film), Lally is an avid reader – and accomplished author – and he has a honed skill for creating music that plots narrative and its key events. Key to the 18 cues that comprise his score for The Owl Service are strings, arranged in such a way as to create a sort of maudlin, mysterious tension throughout the unfolding events. Key pieces like ‘A Night In The Woods’ eschew the strings for wispy synth textures and slowly-unfurling electronic melodies, but its moments such as ‘Ghost Images’ and ‘The Argument’, where strings and synths effortlessly intertwine themselves that stand out the most. A remarkable and carefully-considered score, and several worlds away from his subsequent album, Interzones, released through my Mortality Tables venture. Released 31 October 2024. Interzones by Rupert Lally & Friends was released 29 November through Mortality Tables.

https://rupertlally.bandcamp.com/album/the-owl-service-music-inspired-by-the-novel-from-alan-garner

DOGS VERSUS SHADOWS & NICHOLAS LANGLEY – SALT COAST (Strategic Tape Reserve)

I’ve had the pleasure of working with both Lee Thompson (Dogs Versus Shadows) and Nicholas Langley in different capacities this year. Even after getting to appreciate their methods and processes well because of that, Salt Coast is a surprise. Both know a thing about how to transform sounds almost to the point of being unrecognisable, but Salt Coast finds the pair creating a sort of impenetrable fogginess around noises, melodies and borrowed segments. ‘Marching Through The Radiation’ and ‘Crabtree’ are cases in point – what could be fairground melodies are subjected to such a blanket of echoes that any twee gentility they once possessed are returned as a murky, queasy cues for distressing scenes in a horror film. Probably involving clowns. I’m reluctant to suggest that the technique is analogous to degradation, which has become shorthand for the gauziness of memory; what Thompson and Langley do here is smother their inputs, not decay them. It’s both terrifying and beautiful in its own special way. Released 1 November 2024. Nicholas Langley collaborated with Mortality Tables on LF25 / Matthew’s Hand, part of the LIFEFILES series.

https://strategictapereserve.bandcamp.com/album/salt-coast

STEPHEN REESE – HYPERCATHETIC

Stephen Reese is a singer-songwriter from Toronto. A purveyor of smart rhythmic electronic pop, Reese is also a deft lyricist, able to dive deep into emotional themes but also unafraid of levity, metaphor and humour. He first invited me to listen to an early mix of his debut album back in 2022 as we bonded over our love of Erasure and the synth mastery of Vince Clarke, and its strange and beautiful cocktail of sounds and styles really grabbed me. ‘Bog Mound’ is one of many highlights, sounding as fragile, sparse and mysterious as tracks from Depeche Mode’s A Broken Frame, Reese offering a plaintive lyric that seems to be concerned with falling face-first into a muddy puddle. ‘Shatter Pattern’ is dark and edgy, Reese’s vocal containing a sort of dream-like ethereality while a sparse melody encircles a shuffling rhythm. ‘Bathysphere’, which opens the collection, features a submerged beat and clusters of sonar-like pulses, framing a lyric where he gives a small submarine a lonely, isolated personality. Intensely maudlin, stirring yet infused with wryness, it reminds me of Sparks and Reed & Caroline, sung with a quality that suggests Reese has a penchant for folk tunes. A brilliant debut. Released 23 November 2024.

https://stephenreese.bandcamp.com/album/hypercathectic

 

EVERYDAY DUST – OVERTONES (Dustopian Frequencies)

Overtones is a remarkable study of the resonant frequencies contained within a single 200-year-old handbell. The bell was struck, shaken and played with a bow to generate a series of tones and textures, all of which were then processed with techniques that owe a debt to the pioneers of musique concrète. Everyday Dust is something of a modern-day tapeloop aficionado, and his experience with these processes shows through here in the form of an evolving series of considered sequences or movements; the effect is one of slow evolution, rather than the restless jumping around that colours a lot of tape pieces. Heard as a single 30-minute piece, Overtones is simultaneously euphoric and elegiac, yet dark and ominous, qualities that make this immediately recognisable as the work of Everyday Dust. Released 29 November 2024.

https://everydaydust.bandcamp.com/album/overtones

Words: Mat Smith

(c) 2024 Further.

Rupert Lally – Teenage Wildlife / Rupert Lally & Benjamin Schabrun – The Whisperer In Darkness

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Teenage Wildlife is a book.

Specifically, it is Rupert Lally’s third novel, following last year’s Backwater and 2017’s Solid State Memories. It is set in the past – 1987, to be precise – but also the future. Through its pages you feel Lally’s intense love of 1980s electronic music, his main protagonist (Rob) and friend playing covers of ‘Tainted Love’ and ‘Blue Monday’. In passages redolent of Patrick Bateman’s gushing eulogies for Genesis, Huey Lewis and Whitney Houston in American Psycho, Lally interjects his narrative with richly detailed and impassioned descriptions of keyboards, drum machines and vintage digital synths.

But Teenage Wildlife is not simply Lally’s paean to the 1980s. It also reveals his love of mystery, of terror, of psychological horror, of technology and of leading the reader casually and unknowingly toward sharp left-turns that leave you questioning what’s real and what’s not. Where this book starts and where this book ends can not be anticipated. Each time you think you have it pinned down, it makes a significant shift. It is an elusive, unplaceable, well-paced, full of uncluttered prose and a rewarding testament to Lally’s imagination.

Teenage Wildlife is an album.

Not exactly a soundtrack to the book, Teenage Wildlife nevertheless centres itself inside the 1987 music scene that Rob is so smitten with. These are pieces laden with hook-y guitar riffs, icicle sharp melodies and big, insistent drum machine rhythms. Quite unlike most of Lally’s more atmospheric work, a lot of the album leans into a smart pop sound, each track broadly corresponding with the chapters in the book.

In parallel to music and writing, Lally maintains a movie blog which reveals an expansive knowledge of film soundtracks. That knowledge gives Teenage Wildlife its distinctive emotional colour and timbre. And, like the book, it is an album that does not stay still. Where it starts in broadly electronic pop territory, by ‘Lying In Wait’ it has sharply pivoted toward darker, more brooding concerns, much more in keeping with Lally’s wider canon of releases. The noisy, atonal ‘Things In An Empty House’ is full of cloying, threatening atmospheric effects with a nagging rhythm approximating a quickening pulse full of nervous anticipation.

The Whisperer In Darkness is an album containing a hypothetical soundtrack to someone else’s book.

The work of Lally and his son Benjamin Schabrun, this is a suite of tracks inspired by a HP Lovecraft story. Resting comfortably in a sort of funeral darkness and shrouded, impenetrable mystery, these ten pieces have the capacity to engender a sense of grim unease. Key track ‘Disturbing News’ moves at what can only be described as a creeping pace, its cloying insistence building gently but ceaselessly across its six-minute duration. Full of drones, suppressed guitar melodies and squalls of Schabrun’s processed violin, ‘Disturbing News’ is Actually pretty terrifying, occupying the same psychological terror locale as Lally’s Teenage Wildlife, without ever once resorting to hackneyed, overblown horror soundtrack histrionics – but still 100% guaranteed to give you nightmares.

Teenage Wildlife (the book) by Rupert Lally was published October 17 2023 and can be found on Amazon here. Teenage Wildlife (the album) by Rupert Lally was released November 3 2023 by Third Kind.

The Whisperer In Darkness by Rupert Lally & Benjamin Schabrun was released October 31 2023 by Spun Out Of Control.

Thanks to Nick and Gavin.

Words Mat Smith

(c) 2024 Further.

 

 

Shots: Any Second Now / Bana Haffar / Goldston – Jones – Kelley – Larkin / Awakened Souls / Yui Onodera

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ANY SECOND NOW – Any Second Now

This album of synth pop genius was released in December but only hit my inbox recently. A London duo of vocalist Steve Olander and synth whizz Alex Hall, Any Second Now take their name from one of the most subtle Vince Clarke-penned moments on Depeche Mode’s 1981 debut, and Any Second Now is resolutely faithful to electronic pop’s best vintages. Containing songs written over the last four decades but which were never recorded, these thirteen songs are filled to bursting point with crystalline, haunting one-note synth melodies and skeletal drum machine rhythms. With the opening and closing instrumental tracks (‘Peking Sunrise’ and ‘Peking Sunset’), Any Second Now isolate the early 1980s’ fascination with travel and far-off, exotic places, while the semi-detached, almost spoken emotional vocal of key tracks ‘Plastic World’ and ‘No Face’ serve as useful reminders of how easily early synth pop evolved out of punk. These songs are all poised perfectly between darkness and lightness, with ‘Who Killed Kennedy?’ tackling one of the most-asked questions of all time with a cheerful, if unresolvable, levity, while the title track is easily one of the most infectiously joyous pop tracks you’ll ever hear. Simply brilliant.

Any Second Now by Any Second Now was released December 17 2022.

https://anysecnow.bandcamp.com/album/any-second-nowanysecnow.bandcamp.com/album/any-second-now

BANA HAFFAR – intimaa’ (Touch)

intimaa’, the latest album from Montreal-based sound artist and modular electronics pioneer Bana Haffar, can be thought of as a sensitive and delicate collision of styles. On the one hand, key pieces like ‘Elemental’ and ‘Lifter’ highlight the vibrant and often unpredictable pathways that can be established by patching a bunch of magical sound-making boxes together; on the other, they are infused with structures, shapes, rhythms, atmospheres, field recordings and melodic detail that nod to traditional Middle Eastern music. As a listener, you can listen intently for these moments, or just appreciate intimaa’ as a richly textured ambient masterpiece.

intimaa’ by Bana Haffar was released May 19 2023 by Touch.

https://banahaffarreleases.bandcamp.com/album/intimaabanahaffarreleases.bandcamp.com/album/intimaa

GOLDSTON / JONES / KELLEY / LARKIN – Miasms (Full Spectrum Records)

Miasms brings together Lori Goldston (cello), Greg Kelley (trumpet), Al Jones (electronics) and Austin Larkin (violin) for four improvised pieces, recorded in 2019. The occasion was an exhibition focused on the remains of a piano which had been dropped from a helicopter onto musician Larry Van Over’s farm in Duvall, Washington in 1968, an extreme artistic gesture that carried more than a whiff of Fluxus about it. The four musicians here are, in part, responding to the visual stimulus of the piano’s shattered remnants, but the main jumping-off point came through Jones attaching various electronic devices to the piano itself. Each piece contains an intense and intricate soundworld that fluctuates between the quiet and the dissonant. On ‘Two’, thick drones emerge from a turbulent, volatile squall of strings, while the comparatively calm ‘Three’ concerns itself with smaller gestures before a disruptive trumpet blast from Kelley forces the adaptable players into a more strident formation.

Miasms by Goldston / Jones / Kelley / Larkin was released August 4 2023 by Full Spectrum Records.

https://fullspectrumrecords.bandcamp.com/album/miasmsfullspectrumrecords.bandcamp.com/album/miasms

AWAKENED SOULS – unlikely places (Past Inside The Present)

awakened souls are a duo of Cynthia Bernard (voice, guitar) and James Bernard (bass, synths, guitar). Inspired by the idea that we can all find creative impulses in the least likely of places if only we took the time to stay present, this collection of ten pieces is perhaps one of the most delicate, contemplative albums I’ve heard. Reassuring and comforting, pieces like ‘waiting’ are nevertheless poised and purposeful, not exercises in empty ambient drifting. An oscillating synth tone on ‘fall asleep, dream’ floats determinedly over soft, undulating sounds and Cynthia’s ethereal vocals, collectively guiding your awareness and providing clarity to the disorganised clutter of your mind. Beyond beatific, and a joy to be in the company of.

unlikely places by awakened souls was released August 16 2023 by Past Inside The Present.

pitp.bandcamp.com/album/unlikely-placeshttps://pitp.bandcamp.com/album/unlikely-places

YUI ONODERA – Mizuniwa (Decaying Spheres)

For Mizuniwa, sound artist Yui Onodera recorded sounds while visiting the Tochigi Prefecture, a landlocked area lying 80km to the north of his Tokyo home. A beautiful, tranquil location encompassing mountains, national parks, water falls and, on the basis of this album, ample sources of inspiration for Onodera. The six pieces here have a life-affirming warmth, full of rich, constantly-moving yet subtle synth layers and naturalistic water sounds. For me, key pieces like ‘Mizuniwa 2’ and ‘Mizuniwa 6’ are sonic embodiments of the concept of shakkei, whereby a background landscape is incorporated into the design of a garden. In this way, Onodera’s pieces encompass distant horizons and close-up details, making for a truly transcendent listening experience.

Mizuniwa by Yui Onodera was released August 4 2023 by Decaying Spheres.

yuionodera.bandcamp.com/album/mizuniwa

Words: Mat Smith

Thanks to Graeme.

(c) 2023 Further.

Various Artists – Fictions

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The latest release from Crammed Discs’ reinvigorated Made To Measure series is described as a compendium of ‘wordless fiction’. Curated by Crammed Discs co-founder Marc Hollander (Aksak Maboul), the album compiles eight tailor-made pieces that navigate a path between ambient, soundscapes, adventurous electronics and modern classical stylings.

While the pieces here are new, there is a sense of reverence through the inclusion of a track by Benjamin Lew and Tuxedomoon’s Steven Brown. The pair originally worked together during Made To Measure’s initial years, releasing Douzième Journée: Le Verbe, La Parure, L’Amour in 1982 and its follow-up A Propos D’Un Paysage in 1985, creating mesmerising and innovative clashes between tapes of African music and electronics. After hooking up again at a Made To Measure event in 2019, they found themselves rekindling a creative partnership, and their track – ‘A.D. Sur La Carte’ – is a haunting stew of inquisitive synths and mournful trumpet that together feel amorphous and ephemeral.

Another Made To Measure alumnus is Pascal Gabriel, here appearing in his Stubbleman alias. Gabriel released his critically-acclaimed Mountains And Plains audio travelogue for the label in 2019 and has collaborated with Crammed Discs and Aksak Maboul in the past. His piece finds him working with Norweigian trumpet player Nils Petter Molvær. ‘Ne Pas Se Pencher Au Dehors’ has definite soundtrack credentials, the melodic synth refrain and more direct trumpet playing that comes in after two minutes sounding (to me) like the perfect accompaniment to Michael J. Fox’s final scene in Bright Lights, Big City as he watches the sun rise over Manhattan’s East River and contemplates starting his life afresh.

Elsewhere, Kaitlyn Aurelia Smith delivers a cascade of burbling synths on ‘Waterways’, managing to enrich analogue sounds with an aquatic sense of motion, over which floats a pretty xylophone motif. LA’s Mary Lattimore is an artist that has truly redefined approaches to playing the venerable harp, and her ‘Bird’ offers up a sweet, heart-wrenching duet with electronics that is simultaneously hopeful yet thwarted, as if gazing wistfully on the fleeting nature of existence.

Not that these are all delicate, gentle sonic experiments. French composer and sound artist Félicia Atkinson’s ‘The Sun, Perhaps Three Of Them’ bristles with wild energy, a central white noise drone and what could be a voice is nothing short of chilling, while Christina Vantzou’s tone poem ‘Museum Critic’ use of out-of-place found sound to catch you off guard and knock you out of the meditative state provided by other tracks here.

Taken as a whole, Fictions represents an absorbing, inspiring collection onto which you can write your own personal narrative.

Fictions was released October 14 2022 by Crammed Discs / Made To Measure

Thanks to Jim at Ampersand and PG.

Words: Mat Smith

(c) 2022 Further.

Rupert Lally – Dune

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Lally - Dune Tape

My youth was, I now realise, haunted by Dune. My mother, sensing a Star Wars-led interest in science fiction films, bought my an empty Panini sticker album that was issued to go along with David Lynch’s 1984 adaptation of Frank Herbert’s celebrated novel. No one else at my primary school was collecting the stickers, and with no one to swap the endless, frustrating supply of duplicate stickers I invariably ended up with, it languished, unfinished until it found itself in the bin. Later still, I ended up receiving a copy of the 1992 Amiga computer game from a friend and, like a lot of games, I was utterly hopeless at it and I guess I either offloaded it back to that friend or it went off to some floppy disc recycling place upon the occasion of one of my successive house moves.

So to say I have mixed feelings about Dune is an understatement. Those youthful experiences have meant I never bothered to read the book, and I’d rather watch Eraserhead or The Elephant Man over Lynch’s take on Dune. I know – sacrilege, right?

But maybe there’s hope for me yet in the form of Rupert Lally’s brilliant new soundtrack to Herbert’s book, released as part of the Bibliotapes series. Lally is no stranger to this endeavour, releasing a coveted score to another sci-fi novel, John Wyndham’s The Day Of The Triffids, via the label earlier this year. Herbert’s book was originally presented in the science fiction periodical Analog, and, perhaps with intentional reverence, Lally enriches these 26 evocative cues with a beautifully-rendered analogue synth spice (pun intended).

Pieces like ‘Giedi Prime’, ‘Remember The Tooth!’ and ‘Leave No Trace’ proceed on prowling, throbbing bass tones full of both threat and mystery, representing a recognisable stylistic motif that runs through the whole of Lally’s vivid score. There are moments, such as on ‘A Deal With Kynes’, where those tones eddy upward with aggressive and intensifying malice, signalling danger, while elsewhere they ebb away into distant, mollified texture.

And yet nestled within these bleak wastelands of atmospheric sound, we find the spiralling melodies, intensifying arpeggios and pulsing beats of the singular ‘Wormsign’, representing a seamless entanglement of Seventies space disco, progressive house and Eat Static-y galactic psychedelia.

The fifty copies of the cassette edition of Lally’s Dune justifiably sold out in record time. Fortunately, these absorbing, pulse-sharpening tracks are all available at Rupert’s Bandcamp page, a link to which can be found below. I’m now finally going to go and track down a copy of Herbert’s book. It’s about time…

Dune by Rupert Lally was released September 13 2019 by Bibliotapes.

Words: Mat Smith

(c) 2019 Further.

Rupert Lally – The Day Of The Triffids

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Stuart McLean’s Bibliotapes cassette label is focussed on curating imaginary soundtracks for books. For its second release, Swiss electronic musician and soundtrack aficionado Rupert Lally has chosen to create a soundtrack to accompany John Wyndham’s 1951 sci-fi novel The Day Of The Triffids. Lally himself is no stranger to this concept, having previously delivered imagined soundtracks to J.G. Ballard’s High-Rise, a score that gave Clint Mansell’s music for the 2015 film a good run for its money.

Given the harrowing, apocalyptic subject matter of the book, it goes without saying that the tone here is resolutely gloomy. Using an array of synths, Optigan and Mellotron loops and instruments like flute, Lally’s cues are dark and occasionally oppressive, full of lurking dread and inescapable destruction. The use of a jaunty Optigan loop on ‘The Coming Of The Triffids’ provides a brief moment of levity before its wonky music hall leanings are quickly rearranged once more into nightmarish drones and murky tones. Moments like ‘Shadows Before’, ‘Shirning’ or ‘…And Further On’ range from near orchestral atmospherics to ephemeral, dread-inspiring low-frequency tension. It is this unpredictable, haunting variety of sounds that marks this out as arguably Lally’s most definitive statement to date.

The Day Of The Triffids by Rupert Lally was released by Bibliotapes on April 17 2019. All fifty of the cassettes are now sold out but the tracks will be available at Lally’s Bandcamp page from April 23 – rupertlally.bandcamp.com

Words: Mat Smith

(c) 2019 Further.

Further. : Quarterly Report Q1 2019 & Playlist

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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.

Reviews

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)

Interview
The Silver Field

Playlist
Spotify

Words: Mat Smith

(c) 2019 Further.

Kaada – ZombieLars (Soundtrack)

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John Erik Kaada’s Closing Statements was one of last year’s standout albums, straddling as it did the worlds of electronic music and modern classical composition with a moving suite of pieces dealing with final farewells. A versatile composer for his own solo releases as well as film and TV, Norway’s Kaada is also a frequent collaborator with Faith No More guitarist and Ipecac label head Mike Patton, making him a highly adaptable and fluid musician with a penchant for unexpected eclecticism.

This new release contains some of Kaada’s work for the TV series ZombieLars, a coming-of-age teen story filtered through the voguish lens of vampires, werewolves and zombies. The collection showcases Kaada’s precise rendering of mood and texture via styles that feel inextricably linked to an 1980s soundtrack recipe. ‘Algebra and ‘Annerledes’s synth sprinkles and dominant beats sound like they may have consciously mainlined the score from Escape From New York, while the stentorian ‘Beeserk’ has a stop-start quality akin to a classically-infused flavour of dubstep. The urgent, moody ‘Detroit’ stands out for its unswervingly hypnotic layers of bass and haunting melodies, while ‘Brain’ captures some of the maudlin quality that dominated Closing Statements with stirring strings and gentle arpeggios.

ZombieLars is released by Mirakel Recordings on January 25 2019.

Words: Mat Smith
(c) 2019 Further.