Various
NOOD5

Carved out from between the cracks of life over a 2 year period, Low Flung presents his eighth full length album ‘The Wheel’. Together, the 11 tracks provide a space to process and sit with difficult change. This takes the form of microscopic minimalist landscapes. Presented in both audio and physical form as micro grooves on a 12” vinyl.At times the sound wanders and walks, other times it remains still, clear and precise. The omni-present artifacts found in ‘The Wheel’ are left to breathe a different life during each listen. Drones act like familiar trails losing their path as space transforms like a breeze over a table of sand. Hyper focused spores evolve around blurred waves of time. Electronic tones are captured flowing to the rhythm of a decaying natural world.‘The Wheel’ is a patchwork of sonic experiments made using modular synthesis, fixed architecture synthesis, Buchla Music Easel (replica), outboard effects, cassette manipulation techniques, samplers and field recordings taken along the texturally rich and historically questionable eastern coastline of Australia.The tracks have been composed with a materiality that embraces the acoustics of different listening environments. Much like mood, this means each listening experience is unique due to the natural acoustics of your listening space. The sounds on this album embrace this phenomena, creating a rich, visceral listening experience that slowly scratches away at discrete moments of timeRather than attempting to traverse new sonic fields of experimentation in ‘The Wheel’, the album touches on the various spaces Danny has explored over the past ten years as an Audio Visual artist. Although technically eighth, it would be more fitting to say this album draws a clear line from ‘Blow Waves (2018)’ to ‘Outside The Circle (2020)’ to become the third and final chapter in the expanded non linear, unintentional landscape series. Serendipitous that each was conceived over 2 year periods of time.While the key focus is sitting with difficult change, this album is also a celebration of any moment you might find yourself in. Good, bad, easy or hard, this album is an attempt to help with feeling content wherever you are along your path. With each cycle a new context.

Pointillist club rhythms and dense, porous dub clouds encircle the Wrecked Lightship as Laurie Osborne and Adam Winchester set sail for phantom islands once more. The nocturnal boatswains chart a course guided by pronounced percussive impulses, using physicality to navigate the looming atmospheric pressure that has become their signature style.Opening tracks ‘Arial’ and ‘Third Law’ speak to the roots of Osborne and Winchester’s respective work as Appleblim and Wedge, dealing in dancefloor abstractions where techno, electro and dubstep once stood, but there’s much more at play than simple genre tags could ever express. ‘Third Law’s electro-static interference calls back to Winchester’s work in Dot Product, while the twitchy urgency and gnarly bass echoes Osborne’s ALSO project with Second Storey.Wrecked Lightship is an anchorless concern, free to drift into experimental waters if the currents surge that way, and so ‘Kill Mirror’ and ‘Hydrotower’ head away from forthright structures to play around with sound design and full-frequency manipulation. It’s too kinetic and jagged to be considered ambient, even if it willfully shirks the dancefloor. But for every starboard swerve there’s a prevailing wind, and the likes of finely-tuned club weapon ‘Take It Back’ whip ahead with laser-eyed focus.Nailing their split interests between immediacy and the avant-garde to the mast, Wrecked Lightship deepen the reach of their project on their second album. Whatever shape a specific track might take, Oceans & Seas serves as a paean to the art of sonic manipulation and spatial processing.

Noods Radio: ...Following on from our first outing Hypha we’re back with Splint, an 11 track compilation featuring new and original music from Noods residents and associates, showcasing artists both from our home in Bristol and across the world.Splint consolidates its artists disparate influences into a coherent sound, a series of swampy, low tempo workouts, filled with echo drenched vocals, sludgy drums and irregular grooves that unspool gradually rewarding repeated listens.This compilation features an entirely new cast of contributors, including Barcelona duo Dame Area, Bristol based sound artist EBU, and Avon Terror Corps affiliate Jackson Veil Panther.Splint will be available as a limited run cassette and digital download — get them while they're hot!

L+P-2 is Rivet's second album following his acclaimed debut, On Feather and Wire, released on Editions Mego in 2020. The wheels were already in motion for a subsequent album on the same label, but tragedy struck. Peter "Pita" Rehberg, the legendary owner of Editions Mego, suddenly passed away at only 53 years old, leaving the experimental electronic music community in a state of pitch-black grief. Rivet was among the many deeply affected by this loss. The inspiration and support from Rehberg had propelled Rivet to create at a level he himself was uncertain he had mastered. For Rivet, Rehberg's death felt like the death of music.However, that brooding sentiment was abruptly shattered when Rivet's beloved dog and companion, Lilo, was diagnosed with incurable cancer just a couple of months later. They were inseparable, and now they would be separated nonetheless. The only way Rivet could cope with this double blow was to compose—for Lilo, for Pita, for his own sanity. L+P-2 is the result.While the album naturally emerges from a place of despair, it's remarkably comforting. Partly, this stems from Rivet's singular ability to make machines not only sound human but also act human—sincere and warm, yet flawed. In more than one track on L+P-2, you'll encounter a distinctive melody and a gnarly bassline dancing hand in hand with Rivet's eccentric and captivating drum patterns. Then, seemingly on a whim, the melody takes off on its own, leaving the faithful bassline behind—much like a dear friend that suddenly vanishes from your life without warning. Yet life goes on, and so does the music. But never unchanged. Never.L+P-2 is an album of lamentation, yet also of resolve—a dedication to those who go through life losing more than their share because they always carry too much.har jag hukatså längeatt allt blivit skevtatt allt blivit skört//have I hunched downfor so longthat everything has become askewthat everything has become brittle

Butter Sessions: ...Canadian born and Naarm (Melbourne) based Jennifer Loveless returns one year on from her debut release Hard/Soft (Pure Space Records) with Water, a 12” EP presented by Butter Sessions. Bestowing us with five tracks of dystopian dance-floor thump, Water is a bustling showcase of Jenn’s breadth as an artist. Reflecting on the contrast of Water with her first EP, Loveless comments “I wanted a hard contrast to the Hard/Soft release. I always had a plan to release an energetic frivolous fun type EP after Hard/Soft. I had a feeling people might see me as an ambient producer (although I wouldn’t really categorise Hard/Soft as that), and I guess this EP, Water, is my response”. At its core, Water is a hyper-charged cetacean maelstrom of electronic music, sampling weddell seals, humpback whales, pacific walruses and water itself. Water kicks off with the rumbling patter of Out/Under before moving into the unabating Syzygy (Scissor Me). Jenn stamps a joyful yet skittish imprint onto ECC, while fly on the wall Backroll Buddy sits on a sound bed of audio Jenn recorded at parties, capturing friends chattering and an edit of a Whitney Houston earworm she heard a DJ playing, paying ode to a night out. B L U YOU is a charming endnote; a fusion of fluorescent pop and a catchy bassline. The verdict here is that Water allows Jennifer Loveless to prove herself truly as a jack of all trades. Water takes shape as an engrossing palette of bold dance music.

We Jazz Records is delighted to share the first edition of our new series of reworks with you . Our aim is to invite some of our favourite artists to take a fresh look at our album releases with the interval of 10 full length album releases. In other words, the invited artist has complete freedom to choose (or not to choose) any sample material from their allocated range of ten We Jazz Records albums, and there are no artistic boundaries of what they should do with the material. Each artist will then create a new musical piece based on the sample material and whatever instrumentation they wish to add to it. Fun, eh?