Peder Mannerfelt – Controlling Body

Barring the Swedish Congo record from last year, Peder Mannerfelt’s music under his eponymous moniker has featured a very unique aesthetic. Unlike his work as the Subliminal Kid, there’s something instantly recognisable as a Peder Mannerfelt track, but as his discography expands, it’s getting harder to construct a whole picture

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Glice – Fleisch

Subtly orchestrated to lull you into a false sense of security through its opening bars, it doesn’t take long for Glice’s Fleisch to move into the macabre and grotesque. Plucked metallic objects vibrate out of sync with the rest of the stereo components while wheezing drones and the spray of

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Slackk – Aviary

Praise for Slackk’s Backwards Light EP on R&S from last year came from far and wide, with the instrumental Grime producer tugging at the ears of audiences from disparate corners of the musical spectrum. What Paul Lynch established as Slackk during that release is a matured Grime sound that can

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+plattform – tm22

After making a first appearance on Ploink, Stian Balducci made a formidable impression on the world as his +plattform alias in the world of Techno. His dubby brand of electronica, anchored in the dystopian world of an industrialised music, features the sinister qualities of Germany without disenfranchising his audience. Balducci’s

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Ytamo – Mi Wo

Can that differential between low and high art ever be narrowed. Visual artists, even those that work in “pop art”, have tried but very few actually succeed, with their work very rarely making a fundamental influence to the masses and often requiring the type of academic snobbery that would make

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Gidge – Lulin

It’s a curious thing when an artist’s direct environment is said to influence his/her/their work. Can something as concrete as nature or a building actually have a direct effect on something as abstract as music? Or are we just manipulated by our own subjective impulses to draw a correlation between

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Honzo – Melancholia

In physics noise is partly defined by its unexpected behaviour. It suggests the reason we find certain sounds particularly noisy is because we can’t predict their next phase, nor do they comply with any familiar characteristics of sound as found in nature. But what happens when we remove the unpredictability

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