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Hinge

No Corner: ...Spiritflesh, the brainchild of Julian 'Dj October' Raymond-Smith and Boris 'Borai' English, is the culmination of an expansive discography, countless hours of music consumption and detailed collective knowledge.Taking in a host of sounds, from Doom Metal and Drone through to Post-Punk, EBM, Dreader than dread Dub and Techno, Spiritflesh have truly blurred the conventions of their influences and spawned a sonic that is all theirs... spewing and spitting like a skeletal, fog-riddled construct of otherwordly ambience, guttural bassline and rhythm.Dream-like, yet crushingly physical, their sound is a cerebral kind of music that touches, with great conviction, on ideas of life, death and the in-between...

boomkat: ...Fine, vaporous cloud of Bristolian smokers’ lullabies from Amos Childs and Boofy“NoCorner come forward with the fourth release in their 7 series, presenting four short, but oh-so-sweet cuts from VMO$ (aka half of O$VMV$M, half of Jabu, aka Amos Childs) and Boofy, the fellow badbwoy Bristolian, Bandulu-affiliate and Guiness lover.What we have here, are supreme late-night, slo-mo vibrations of the highest order, as you'd come to expect from the man behind much of the Jabu, O$VMV$M and Killing Sound material in combination with Boofy, who seems to add just right amount of extra tinges of dank, skewed RnB & other syruppy goodness, that mix&blend better than your nan's secret Rum Punch. Wicked combination - VMO$ & Boofy killin' them in cool & deadly style.Support from Kahn & Neek (as heard on their FabricLive mix) as well as Mary Anne Hobbs and Batu.”

Founded in 2015, Tears|Ov are sound artist/self-taught musician Lori E Allen, classically trained cellist/mixed media artist Katie Spafford and illustrator/prison psychotherapist Deborah Wale. The trio first collaborated on Lori E Allen’s ‘Tears of the Material Vulture’ cassette on The Tapeworm, a re-imagination of a brief collaboration with Madame Chaos of cut-up cablecasts, 1995-1996, on Manhattan Neighborhood Network and Television in New York City. That release served to resurrect a hibernating creative practice between the three friends.Their writing process takes the form of structured improvisation. Allen will create a bed of loops, field recordings or a full framework. She then shares this base with Wale and Spafford who embellish or delete, the three building the pieces through long improvised sessions in London, playing late into the night. During these sessions, the feeling of a songs’ words or the emotional tone of a sound can spark sudden mood changes, altering the arc of the compositions. ‘Crucially the music is improvised – it is never the same twice. There are triggers and moments that signal moving to another part of the music, but the timings and lengths largely depend on our moods and interpretation on a given day/performance. Because of this, the album was recorded with ambient mics capturing multiple instruments. It wasn’t possible to record all the instruments separately as we respond to each others improvisation. Even if the changes are very minor, they really affect the emotion of each piece’ Spafford says.

ORANGE MILK RECORDS: ...Inspired by fever dreams, in a sense explores the human nature of emotions and narrates a journey of rediscovery. Soundscapes quickly materialize and collapse and melodies become room noise within the blink of an eye. The album challenges many conventions in electronic compositions and questions the desire for familiarity in modern production.