Not content with releasing arguably the best electronic album of the year so far, Donato Dozzy / Dozzers / The Big Dozz has reunited with Eva Geist – alongside the now permanent addition of previous collaborator Pietro Micioni – for a new LP under their Il Quadro Do Troisi moniker. Set for release later this month and billed as “classic Italian songwriting with an electronic spin”, expect soaring vocals and plenty of bubbling, electro basslines.
Apologies for the complete lack of music recently, but it’s been a busy old week. Hopefully you’ve been finding your own way regardless. I’ve been doing some deep ambient dives over the last few days to help me coping with the rising tension, and have come across a few gems I missed from earlier in the year, my favourite of which is probably Numa Gama’s album A Spectral Turn which brilliantly blends ambient, and IDM textures with post-rave, dub techno-adjacent rhythms.
Maria W Horn’s new album Panoptikon is a suite of choral and electronic music originally produced for an installation in the disbanded Vita Duvan panopticon prison in Luleå, Sweden. According to the press materials, the circular prison structure of Vita Duvan, which enabled central monitoring, was meant to create a sense of omniscient surveillance. The panopticon made the inmates aware that they could be monitored at any time without having any way of checking if this was actually the case.
Panopitkon was originally presented as a multichannel sound and light installation where the imagined individual voices of the inmates were represented by loudspeakers placed in the various cells of the prison. Opening track Omnia citra mortem (everything until death) is a legal term that means prisoners who did not confess their crime could not be sentenced to death, but only to torture until a confession was forthcoming.
If this all sounds overwhelmingly bleak, then yes, there is undoubtedly a darkness and meaning tone to much of the music here. But it is also in parts quite overwhelmingly beautiful, and has already had a profound effect on me. Without doubt one of the most striking and accomplished albums of the year so far.
I’ve been revisiting the discography of the hugely underrated and now sadly defunct band Paper Dollhouse recently, and there are parallels to be drawn between their work and the Save The Cat’s debut LP; stripped-back guitars, mournful vocals and a lot of reverb that occasionally descends into blinding static. The whole album is incredibly sad and depressing and I really love it.
Laryssa Kim’s new album Contezza is described in the press materials as “a crossroad where Brian Eno, Enya, and Erykah Badu all meet”, and somewhat surprisingly that’s not all bullshit hyperbole. Singing in French, English and Italian over lush electronic backdrops, Kim creates a deeply engaging atmosphere that moves from romantic to alienating and back again, often in the space of a single track.
John Glacier’s new Like A Ribbon EP is incredible. Produced by Flume, Vegyn, Kwes Darko and others, it showcases Glacier’s deep connection to her origins, set against a backdrop of fantasy and personal reflection: unfiltered, poetic, and full of energy. Just five tracks long and clocking in at less that 15 minutes it’s still one of the most impactful and strikingly original releases of the year so far.
More electronic alt-pop whimsy from Discovery Zone’s forthcoming album Quantum Web, with the hypnotically lo-fi music video directed by Jennifer Juniper Stratford.
I’m not entirely sure how many Helado Negro albums there have been – maybe 10? – but I do know they just keep getting better. His latest PHASOR is “an homage to going outside again” and a “returning to life record” concerned with beautifully evocative, hopeful imagery like remembering what the sun feels like and letting it warm your skin. I saw some early spring flowers out the other day, and putting aside what this ultimately means regarding the rapid warming of the planet and ultimate death of everyone on it… it was nice; just like this album!
The Predatory Wasp 