Playlist: 3–9 September 2018

Father Murphy’s final album is a tri­umph of sac­red vocal music steeped in post-indus­trial sens­ib­il­ity. (out on AVANT! Records)

With this requiem, they lay their pro­ject to rest, but for me, the jour­ney begins. I’m work­ing my way back through their oeuvre for sure.

Leaf (Home Nor­mal, 2016) by Stefano Guzz­etti: autum­nal, romantic, beau­ti­ful. Piano, string quar­tet, cla­ri­net, elec­tron­ics.

Calls to mind instru­mental Nature and Organ­isa­tion and Ben Houge’s Arcanum soundtrack.

Nortt’s blackened funeral doom has been a main­stay for years now. Their latest album Endeligt (Avant­garde Music, 2017) is des­pond­ent, intro­spect­ive.

It offers you a hand. Sit down next to it. Bow your head.

Dust in the wind.

As fea­tured on Tues­day’s mix, åmßêrVVåvê§ brings us some lovely nature­wave on Organ­ics (tape out on Power Lunch).

Soft beats and synths, birds, water, crick­ets, aes­thetic.

Nature only exists in places like this!

Not get­ting enough of Prim­it­ive Knot’s crusty metal-through-syn­thpop any­time soon.

Decant­ing the Dream-Gore is as weird as it sounds. Occult, twis­ted, and syr­upy. The tape is sold out, but do check this one out any­way.

I’m groov­ing pretty hard on Daniel Saylor’s jazz elec­tron­ics, as fea­tured on Spring Rain (2017, Bed­lam Tapes).

A seam­less blend of syn­thes­ized and live instru­ments, with free­wheel­ing upbeat tracks, as well as more ambi­ent inter­ludes.

Say­ohime­bou stands for hyper-invent­ive elec­tron­ics and future funk. CRYSTALあいまい is their latest album, out on the esteemed Busi­ness Cas­ual.

A trip through an eth­er­eal neon night­life, through twis­ted mir­rors and across fuzzy chan­nels. ?

Ser­vants of the Apo­ca­lyptic Goat Rave (sic!!!) is where gabber/breakcore and black metal meet. That’s two hard af genres so you bet­ter come pre­pared.

Queen of Dark­ness is short but sweet. Sweet like the black­est, teeth-rot­tingest licorice ima­gin­able.

Not one but TWO soul-crush­ing death indus­trial albums came out on Cyc­lic Law this spring.

Both Døds­maskin and Nord­vargr deliver grim sound­scapes, pound­ing machine beats and Nor­we­gian / Swedish lyr­ical med­it­a­tions, respect­ively.

Short, loud, power­ful blast of anarch­ist black/death metal. Wood­land Tomb are tak­ing no pris­on­ers on their latest self-titled EP.

Quick, smash that but­ton! Oh, and the fash, too, while you’re at it.

Got this CD for free a while ago: it’s actu­ally pretty rad.

TRIX venue got local Ant­werp metal, hard­core, and hiphop groups to col­lab; a heav­ier homage to the ori­ginal “Walk This Way”.

Worth it for the mul­ti­lin­gual eng/fra/ara/nld exper­i­ence alone.

Revis­it­ing ella guro ‘s lovely LP ZERO from last year.

Spa­cious, glitchy elec­tron­ics, soft plan­et­ary ambi­ences. Relax­ing, but not exactly sooth­ing. Fas­cin­at­ing, draw­ing you for­ward towards inner space.

Ill Con­sidered bring some REAL proper heavy jazz on this Cam­den live record­ing. One of those regis­tra­tions that makes you wish you’d been there, grime, sweat, and all.

The first track, swinging, reaches clear heights. On the second track, though, they get DIRTY. Sax, gui­tar, bass, and all. Superb per­cus­sion bits too.

Would namedrop Yusef Lateef here, though there may be closer resemb­lances out there.

Late nite chill­wave with ll nøth­ing ll on dreams of tomor­row.

Some­times you just gotta tune out a bit, lie back, let stuff be stuff.

And that cover is to die for.

Dense, sludgy dark ambi­ent on Eximia’s Vis­it­ors (2018, Cryo Cham­ber)

Unfathom­able ali­ens des­cend upon Earth, car­ry­ing with them the sound of thick storms and swamps.

No melod­ies, just weighty tex­tures and envel­op­ing drones.

Son­nborner by Nadja is out this week on Broken Spine.

Exten­ded drones on the massive first track, both sooth­ing and heavy, give way to prime head­banging mater­ial on “Sun­well”, and other doomy com­pos­i­tions. Engross­ing stuff!

Gor­geous, hush­ful, sparse gui­tar improv works on Chi­odi by the Cov­arino / Incor­vaia duo, out at the end of this month on Pre­served Sound.

Full review in the next issue of Ex Abyssō.