The Predatory Wasp
I’ve always liked serpentwithfeet a lot more in theory than in practice, and have found a lot of his previous stuff a little impenetrable, even after multiple listens. A Comma is the first record of his I’ve liked immediately: it’s definitely way more accessible than anything on his last album, and his voice really shines when accompanied by this more stripped-back, less hectic production.
altopalo are an experimental quartet who met in New York and have been putting out strange, sometimes unsettling and often very beautiful music for the last few years. This is taken from their second album farawayfromeveryoneyouknow, and is delicate, sparse and very lovely indeed.
This is taken from Zeroh’s new album BLQLYTE, which is one of the most extraordinary things I’ve heard this year. I guess ‘experimental hip hop’ would be a vaguely appropriate description, but it doesn’t really come close to doing it justice. It’s an almost overwhelming experience, and you really need to listen to the album in full to properly appreciate its depth.
How’s that for a title? This record from Lorenzo Senni sits somewhere between hyper-modern pop, analogue electro and the soundtrack to the original Lemming’s video game, the last of which I have a particular soft spot for. I recently spent an entire evening playing it online and feeling nostalgic: it was brilliant. Move In Silence is taken from Sinni’s album Scacco Matto which is out now on Warp, and is definitely worth a listen.
I have to admit to a shameful lack of prior knowledge of Katie Harkin, which considering she toured with two of my favourite acts – Wild Beasts and Kurt Vile – is fairly unforgivable. Decade is completely wonderful, and her self-titled debut album which came out last week is also well worth checking out.
As distinctly un-Friday as the new album by Cremation Lily is, I’m really, really enjoying it. Static-drenched and ultimately pretty moody, it also has flashes of radiant joy breaking through the grey. Case in point: the last few moments of Evenings Cast Astray, which starts life with a simple, acoustic guitar strumming away, moving through an eruption of white noise before everything else fades, leaving a single, beautiful synth line and a few chirruping birds for good measure.
Afloat came out in 2006 on Corrina Repp’s album The Absent and the Distant, and is a record I come back to all the time. It’s one of the most heartbreaking, delicate, beautiful songs I’ve ever heard. The piano line that trickles in halfway through is completely inspired, and the whole thing is drenched in a kind of washed out melancholia that is just perfect. Two and a half minutes of sheer, choking bliss.
Brutally stark ambient from Brighton’s Ital Tek that comes with a fantastic music video, vaguely reminiscent of Aphex Twin’s headscrambling visuals for T69 Collapse, but significantly calmer. Leaving The Grid is eerie and arrestingly beautiful and is out now on Planet Mu.
This one had me fully on board within five seconds. Something about that winding, fizzing synth line and those beats… and then they both start singing: absolutely incredible. The entire album, Aarupa, is also one of the best I’ve heard so far this year. Quinton Barnes – you have my attention!
Slowly evolving techno from Bristol’s Hodge that for the first half of its running time is very much in the same vein as Barker’s Debiasing EP, which is one of my favourite electronic releases from the last few years. In all honesty it’s a little disappointing when Shadows In Blue actually resolves itself into a club track rather than holding that tension for the duration, but it’s still a very fine piece of work.
The Predatory Wasp 