Edition of 500 copies UK tour 7”. Tomutonttu aka Jan Anderzen of Kemialliset Ystavat presents a side of small instrument psychedelia, with day-glo ticker-tape melodies and fast, chattering drones. The Oneohtrix Point Never side is just gorgeous, a slow float through Zones Without People-style ambience and spiralling clouds of synthesized strings. Very beautiful. Recommended.

New release on Campbell Kneale’s private Don’t Fuck With magic imprint in an edition of only 100 copies: dreamteam collaboration that pits Campbell Kneale’s current vehicle for maximal transmigratory bliss with Jan Anderzen’s Kemialliset Ystavat satellite Tomutonttu. This side is totally spooked, starting off in a weird whispering grass/forest of spirits style that’s somewhere between the great Paivansade LP on Eclipse and the early Keiji Haino compositions on the Soul’s True Love before breaking into a back-and-forth ghost fog-horn exchange that could almost be the titanic specters of Don Dietrich and Jim Sauter straddling the Golden Gate Bridge. This plays out as one long track though it does consist of several separate conceptions and the later pieces mutate into a kind of alien cosmo drone that combines Anderzen’s goofily psychedelic keyboard work with sobbing arcs of choral rainbows, expertly channeled tape work and the sound of punctured speakers broadcasting from Venus. This is hip! Full colour wallets. 

Edition of 300 copies picture disc with art on the flip presenting one of Jan Anderzen’s most psychedelic and hypnotically rocking sides. This self-titled collection, originally commissioned by the Aanen Lumo Festival for New Sounds, starts off like an early Sonic Boom side with fast tremolo guitar and padding motorik rhythms beneath hysterically modulated and extended vocals eventually locking-down into a fantastic eternal groove. But soon the whole thing devolves into what sounds like a chopped and screwed Arkestra tackling “The Satellites Are Spinning”. Obsessively constructed psychedelic electronica, set to stun. Recommended. 

Inspired pairing that pitches a side each from Neil Campbell’s kinetic Industrial trance unit Astral Social Club with Jan Anderzen of Kemialliset Ystavat’s hypnotic toy orchestra Tomutonttu. Campbell’s side has a heavy automating/Nurse With Wound feel to it with Steel Dream Of The Marching men rhythms dissolving in corrosive F/X that feedback all over themselves to the point that it feels like Terry Riley remixing Neu w/an eternal Acid motorik sound. Anderzen’s side is the perfect compliment, extended fluttering drones over helium melodies that feel as if they could have been beamed from the most candy floss areas of James Ferraro’s brain. Edition of 300 copies w/150g colour vinyl, hand-stamped labels and full colour silkscreen sleeves by Alan Sherry of SIWA. 

New solo jams from Chris Bush of Caboladies in an edition of 75 copies. Melodically complex structures of synth tone with layers of fuzz and confusion cloaking soaring harmonies and epic drones. Even better than his recent CD-R on Robert Beatty’s label.

Edition of 200 copies CD-R on Daniel Lopatin aka Oneohtrix Point Never’s own label. Dog Master Teleportation – aka DMT – presents music reformulated and overdubbed by a quartet of players, including KGB Man (aka Daniel Lopatin), Shaun Trujillo, J. Glennon and P. Giordano. The music is minimal, with translucent electro-stylings that feel like the extracted DNA of lush synth soundtracks isolated and made sidereal using extreme compositional process. All the recordings pre-date the OPN LPs and they cover a fairly wide spectrum, from punked 20^th century avant garde moves to Industrial-scale electro confusion. “Manic Shooter's DMT is sonic weird hieroglyphs from combination Taos, New Mexico and Long Island; the hybrid of which mirrors the effect... bent clues will set you on a path while others are meant to deceive you. Powerlines whisper instructions in a non gendered voice. Mystical Hasid rapper vaporizedendlessly in interlocking dimensional mechanism. Remember this was during the initial Bush era, pre-dating 911 and thus Junior's eyeballs hadn't yet been upgraded to format terrestrial. Mirror plates in the eye cavity is how they found terrorists. Shooter was the first to command green missle control, similar to a Tartan warrior he refracted the beams himself and thus took the problem into his own hands. DMT is an in and out enhancement of this frightening time, as if the lingering confusion of a post-Inside Edition childhood had naturally spawned the devastated political mis-en-scene, building up to the 911 simulation telecast we witnessed while en route to Yusef Lateef's class when we got word of the attacks. This is also a historic document containing some of the first ever KGB MAN overdubs, as well as marking the first time in RIAA history that anyone has ever exclusively fucked with Prince of Darkness and Alphaville on a sampling level, but beyond recognition, musique concret style, plus a touch of cartoon Skinny Puppy meets Mike Patton isolated in a hotel room with a portastudio while on tour with Bungle in '97 vibes. I have recommended Trujillo to be committed to the Material Eye Institute for dog master evaluation. Enjoy it while you can and as Lou said, "watch out for worlds behind you." – DL.

New issue of this excellent underground/H-Pop journal, perfectly bound 110 pages w/colour and b/w printing and bundled with a CD-R and a DVD-R. Articles by Daniel Lopatin (Oneohtrix Point Never), Cameron Stallones (Sun Araw), Michael McGregor interviews Velvet Davenport, Jesse Jarnow on Recording The Cosmos with Greg Davis, an interview with new age keyboard legend Iasos and more by Daniel Bachman, Nate Grace, Emilie Friedlander and Curtis Knapp. Artwork from Camilla Padgitt-Coles, Brenna Murphy, Christelle Gualdi, Christian “Megazord” Oldham, Daniel White, E*Rock, Hydrothermal Emerald, Jon Rafman, Julien Laugier, Massimiliano Bomba/Rawraw, Michelle Ceja, Productlaneevol, Push the Button, Stephanie Davidson, Yannick Val Gesto. The CD-R comes with tracks from La Big Vic, Airbird, Laurel Halo, Dent May, Ducktails, Buffalo Moon, Velvet Davenport, The Twerps, Young Prisms, Big Troubles, Alex Bleeker, Chuck Person, Zonotope ™, Sacred Harp and Dolphins into the Future while the DVD-R features video art from Amy Ruhl (excerpts from How Mata Hari Lost Her Head & Found Her Body, scored by Julian Lynch, Samantha Cromwell (live video of Speculator), Laurel Halo (video feedback piece), Ray Concepcion (live video of Julian Lynch), Christian “Megazord” Oldham (video for Dolphins into the Future), Maia Stern (live video of La Big Vic) and Ryan Hover (video remix of Candy Claws song). 

Stunning dream-team summit from a buncha heavy-hitting synth/drone heads – James Ferraro, Daniel Lopatin of Oneohtrix Point Never, Laurel Halo, Samuel Godin and David Borden. Borden is best known for his soundtrack work on The Exorcist as well as his membership of Mother Mallard’s Portable Masterpiece Company, a new music ensemble that formed in NY in 1969 in order to perform works by Terry Riley, Steve Rich, John Cage etc but that soon developed into one of the first live synth ensembles. Frkyws 7, part of RVNG’s on-going collaborative series, presents five tracks live-channelled by variations of the line-up and it is a goddamn stone: if you can imagine the ultra-sensual slow-mo body sweeps of OPN’s Returnal extended to the point where the biological is confused with the cosmological and the cosmological with the synthetic then you’re approaching the kind of epic, hallucinatory sensuality that the group generate using washes of deep/endless tone and barely stated arcs of synthesized melody. In many ways this might be the most straighforwardly beautiful set of recordings from any of the players, with all of the revelatory power of the 2001 soundtrack re-set for a post Halve Maen/Atem mindset. Indeed, it sits nicely alongside Ferraro’s own Heaven’s Gate as a kind of hi-fi companion to that set’s vision of delivery into the future, with the closing track “Twilight Pacific” as beautiful as anything on his masterpiece Marble Surf. Easily one of the synth/drone records of the year with a majestic vision of the form that would devour and dwarf anything that comes close. Cool paste-on sleeves, comes with a download coupon that also includes a bonus track. CD version imminent. Highly recommended! 

Although Daniel Lopatin aka Oneohtrix Point Never has always had little in common with the hosts of vague new age synth muppets that came up in his wake Replica marks a definitive severing with anything that might have served to function as common ground. This latest album has a more progressive edge – in both the generic and evolutionary sense. The beautiful settings of electronics, horns and F/X has some of the hazy underwater ambience of Robert Wyatt’s classic Rock Bottom, that same sense of a parallel musical world that exists on the cusp of consensual pop/prog/experimental modes. It also has the same feel of being fully conceived as a distinct work as opposed to merely a collection of tracks. Whereas Returnal had a distinctly erotic edge – the electronics like a slow pass over a lover’s body – Replica feels much more melancholy, the post-coital ennui to Returnal’s come-on. Reputedly put together using audio procured from TV ad compilations, the act of recontextualising what was already tied-up with the hypnotics of desire somehow makes the music seem much sadder, the reflection of the void that they set out to fill with false promises and subliminal erotics and at points the music is almost harrowing in its emptiness, it’s loneliness. Across Replica Lopatin’s compositional style is at an all-time complex peak, creating great hall of mirrors constructions from exhalations of breath and subtle cosmo-jazz settings, floating all-the-way out into angelic almost Basinski-esque drones and baroque piano laments . Another massive step elsewhere from one of the most rigorous thinkers and inspired conceptualists to come out of the contemporary underground.

Although Daniel Lopatin aka Oneohtrix Point Never has always had little in common with the hosts of vague new age synth muppets that came up in his wake Replica marks a definitive severing with anything that might have served to function as common ground. This latest album has a more progressive edge – in both the generic and evolutionary sense. The beautiful settings of electronics, horns and F/X has some of the hazy underwater ambience of Robert Wyatt’s classic Rock Bottom, that same sense of a parallel musical world that exists on the cusp of consensual pop/prog/experimental modes. It also has the same feel of being fully conceived as a distinct work as opposed to merely a collection of tracks. Whereas Returnal had a distinctly erotic edge – the electronics like a slow pass over a lover’s body – Replica feels much more melancholy, the post-coital ennui to Returnal’s come-on. Reputedly put together using audio procured from TV ad compilations, the act of recontextualising what was already tied-up with the hypnotics of desire somehow makes the music seem much sadder, the reflection of the void that they set out to fill with false promises and subliminal erotics and at points the music is almost harrowing in its emptiness, it’s loneliness. Across Replica Lopatin’s compositional style is at an all-time complex peak, creating great hall of mirrors constructions from exhalations of breath and subtle cosmo-jazz settings, floating all-the-way out into angelic almost Basinski-esque drones and baroque piano laments . Another massive step elsewhere from one of the most rigorous thinkers and inspired conceptualists to come out of the contemporary underground. Limited edition cassette version in a run of only 200 copies.