The Predatory Wasp
“Late one evening, I was listening to the radio alone at home. I couldn’t find the station I wanted, so I shifted the dial around for a while. Between frequencies, fading in and out of fidelity, I found a station I’d never heard before. To my amazement, the station was broadcasting my own memories. Memories from when I was seventeen. Some of the most formative and important moments of my life, alive on the air.”
K-Lone’s new LP sorry i thought you were someone else – his debut release on Incienso – was produced after his father’s passing and became a place for the Brighton-based artist to escape and reflect. And while the majority of the album isn’t necessarily something I’ll be going back to, the opening track someone else is inarguably lovely.
https://k-lone.bandcamp.com/album/sorry-i-thought-you-were-someone-else
I’m currently spending way too obsessing about my end of year list, which doesn’t leave much room for new music. I did dutifully dive into Oneohtrix Point Never’s new album Tranquilizer though and yes – it’s quite good! Ben Cardew’s article for Line Noise did a great job of summing up my own ambivalent feelings towards much of his discography (TLDR: I think it’s impressive, I just don’t feel it) but Cherry Blue definitely stood out amongst all the glitchiness.
I really was intending to post something bouncy and uplifting to start the week, but then I heard Simone Seales new album Dearest and decided reflective, somewhat mournful cello was actually the way to go. Simone Seales’s debut studio album is a poetry-music album inspired by the warmth, nostalgia, and tension of first queer love which they wrote as a way of honouring and releasing their first relationship from a decade ago. So not bouncy, exactly, just very good.
I love The Field, to the point that I attempted to create a remix by entirely ripping off his sound. I would link to it, but it seems to be entirely expunged from the internet; probably for the best. His output over the last decade has been extremely limited, so I was delighted to this this sun-bleached, beautifully atmospheric remix of Sachika Nayar & Nina Keith’s Disiniblud project pop up, reminding me of why I fell for his mesmerising loops all those years ago.
Viktoras Urbaitis aka Teatre crafts electronic music of cinematic quality, evoking images of desolate night streets and the dark, flowing waters of Eastern European rivers. His new Overtime EP is the debut release for Berlin’s Dangė Records – which specialises in championing electronic music from Lithuania and the Baltics – and is a testament to the hours spent in the fluorescent-lit purgatory of office spaces, navigating corporate networks and the sterile interactions of online support, all while under the literary spell of Jurga Ivanauskaite’s diaries.
The title of Corrina Repp’s new LP, ACTIVITY DREAM: Instrumentals on the guitar Vol. 1, tells you everything you need to know. It’s beautiful, fragile music, ripe with wonder and yearning. There’s also a 36 page photo book that accompanies the release, described by Repp as full of “perfect accidents I feel lucky enough to witness.”
https://corrinarepp.bandcamp.com/album/activity-dream-instrumentals-on-the-guitar-vol-1
Unfolding is Jessica Moss’s most meditative and plaintive solo album, and perhaps the first in the Montréal violinist/composer’s decade-spanning discography that could properly be called ambient.
The album came together over a period of a year, inspired by the genocide in Palestine, and as a direct response to “our collective witnessing, our collective grief, as a portal to collective mourning, as a searchlight through our internal weather systems, seeking one another out in the dark.” Opening the album, Washing Machine traces its origins to a phone recording of a European laundry machine, captured by Moss as she sat next to it, heartbroken on the bathroom floor, finding solace by humming a melody along to the mechanical harmonics of the washer working through its cycles.
Mike Paradinas returns to Balmat with his new album 1979, the spiritual successor to his 2023 label debut 1977. 1979 explores a synth-heavy landscape of ethereal soundscapes, ominous crevasses, and strange, psychedelic fugues, and leans more readily into ambient-adjacent moods and textures than most of Paradinas’s more lively recordings as µ-Ziq on Planet Mu.
Betty Hammerschlag arrives on blush with a beautiful set of abstracted folk diversions on her new LP fake girl. Sits somewhere between Grouper and ML Buch; with heartwrenching melodies submerged beneath layers of reverb, dust and melancholy.
The Predatory Wasp 