Tegh & Adel Poursamadi ~ Bayal بیل
Gholam-Hossein Sa’edi’s The Mourners of Bayal (1964) remains one of the defining works of modern Iranian literature. Across eight interconnected stories set in the fictional village of Bayal, Sa’edi explores poverty, famine, superstition, grief and death through a world where
Tegh & Adel Poursamadi ~ Bayal بیل
Gholam-Hossein Sa’edi’s The Mourners of Bayal (1964) remains one of the defining works of modern Iranian literature. Across eight interconnected stories set in the fictional village of Bayal, Sa’edi explores poverty, famine, superstition, grief and death through a world where
Tasgeelat Al-Husni – تسجيلات الحُسني ~ Shell and Core – عَ العَضم
Shell and Core takes its title from the unfinished concrete structures that have become fixtures of the Syrian landscape, and Tasgeelat Al-Husni تسجيلات الحُسني uses that image of arrested construction as a way of looking at lives left incomplete. Much
Tasgeelat Al-Husni – تسجيلات الحُسني ~ Shell and Core – عَ العَضم
Shell and Core takes its title from the unfinished concrete structures that have become fixtures of the Syrian landscape, and Tasgeelat Al-Husni تسجيلات الحُسني uses that image of arrested construction as a way of looking at lives left incomplete. Much
Adriano Zanni ~ Post Dub Cities
Thematically, Post Dub Cities hearkens back to Future Sound of London’s Dead Cities, while tonally it recalls Murcof’s Rememberanza. Adriano Zanni‘s vision of a future world is the cold reflection of a present reality in which many places are already deserted: peeling houses,
Adriano Zanni ~ Post Dub Cities
Thematically, Post Dub Cities hearkens back to Future Sound of London’s Dead Cities, while tonally it recalls Murcof’s Rememberanza. Adriano Zanni‘s vision of a future world is the cold reflection of a present reality in which many places are already deserted: peeling houses,
TAKAAT ~ Is Noise, Vol. 3
By the third instalment of their Is Noise series, TAKAAT [pronounced tuh-cot and meaning “noise” in the Tuareg language Tamashek] have moved further from the raw collision of Tuareg guitar and punk that initially defined the project. The trio has
TAKAAT ~ Is Noise, Vol. 3
By the third instalment of their Is Noise series, TAKAAT [pronounced tuh-cot and meaning “noise” in the Tuareg language Tamashek] have moved further from the raw collision of Tuareg guitar and punk that initially defined the project. The trio has
Giorgi Koberidze ~ Crude Walnut Taste
Listening to Crude Walnut Taste, it is tempting to focus on Giorgi Koberidze‘s compositional rigour: the electroacoustic transformations, the dialogue with Western classical forms, the microscopic attention paid to the behaviour of sound. Those elements are certainly there, but they
Giorgi Koberidze ~ Crude Walnut Taste
Listening to Crude Walnut Taste, it is tempting to focus on Giorgi Koberidze‘s compositional rigour: the electroacoustic transformations, the dialogue with Western classical forms, the microscopic attention paid to the behaviour of sound. Those elements are certainly there, but they
Yara Mekawei and Amir Rezk ~ 33
33 takes the traditional age of Christ at his death as the axis of a twelve-part electroacoustic cycle concerned with creation, incarnation, suffering, death and renewal. Yara Mekawei and Amir Rezk draw on biblical passages, Coptic Orthodox liturgy and Arabic
Yara Mekawei and Amir Rezk ~ 33
33 takes the traditional age of Christ at his death as the axis of a twelve-part electroacoustic cycle concerned with creation, incarnation, suffering, death and renewal. Yara Mekawei and Amir Rezk draw on biblical passages, Coptic Orthodox liturgy and Arabic
Arshan Najafi ~ Zenosyne
Arshan Najafi‘s Zenosyne takes its title from John Koenig’s neologism describing the unsettling sensation that time seems to accelerate as we grow older. The album focuses on the paradox behind that sensation. As Najafi explains in the accompanying interview, the
Arshan Najafi ~ Zenosyne
Arshan Najafi‘s Zenosyne takes its title from John Koenig’s neologism describing the unsettling sensation that time seems to accelerate as we grow older. The album focuses on the paradox behind that sensation. As Najafi explains in the accompanying interview, the
Toni Geitani ~ Wahj
Across its seventeen tracks, Wahj brings together electronics, industrial textures, processed strings, Arabic vocal traditions and fractured rhythms in combinations that keep changing shape. Individual elements remain recognisable without settling into familiar forms, while images of voice, disappearance, radiance and
Toni Geitani ~ Wahj
Across its seventeen tracks, Wahj brings together electronics, industrial textures, processed strings, Arabic vocal traditions and fractured rhythms in combinations that keep changing shape. Individual elements remain recognisable without settling into familiar forms, while images of voice, disappearance, radiance and
