Back catalogue: Leftfield

Review: There's not a huge amount we can say with certainty about O$VMV$M. The act is based in Bristol, UK, and certainly reinforce preconceptions of the city as a hotbed for leftfield stuff. Whether that's politics, art, or, in this case, music. Or perhaps all three. Beach Road is as much an exercise in sound-as-art as it is music per se, and as such is a strong statement about the lack of vision and imagination stalking streaming services and record shops alike in 2023.

None of which is to say that O$VMV$M's six-track EP isn't packed with incredible music. 'Diablo', one of the wildest, strangest efforts here, is disjointed mutant pop-electronica that seems like someone is warming up for an MPC showcase, and exemplifies our point. It's pleasurable to hear, but fascinating to take apart. Similar points can be made about the sparse, glitchy percussion of 'Beach Road' and 'Follow', making this one for the deep dive enthusiasts.

Review: Fourth volume of Library Music miniatures by Daniel O'Sullivan (Ulver, aethenor, This is Not This Heat, etc.) for VHF, this time commissioned by the legendary German Music Library, Sonoton. Another sampling of O'Sullivan's versatility and brilliance as a composer, performer and sound designer, the focus on The Pastoral Machine is more "electronic" compared to the three previous albums O'Sullivan recorded for KPM (also issued on LP by VHF), with simpler arrangements and a focus on gentle and emotive synthesised soundworlds. Even without as many full ensemble arrangements, there's still a wealth of diversity - 'Empathogen' opens the record with latticed arpeggiating sequences recalling Japanese "environmental music" or Persian Surgery-era Terry Riley, 'Fruit Of Stream Entry' burbles with gentle ripples evoking the album's title, while 'The Silversmith Of Space' mines a simple chord sequence evoking Eno's 70s classic short instrumentals. Recalling futurist new-age pop in the vein of Enya or Virginia Astley, the record comes housed in a jacket and heavy euro-style inner featuring collages by O'Sullivan, soon to be the subject of an art book published by Timeless Editions in mid-2024.

Review: Bordeaux-based producer Franck Zaragoza aka. Ocoeur has always drawn on the natural world as a basis for his sprawling ambient compositions, and his latest album Breath is no exception. Over just six immersive pieces that intend to evoke the gratitude for simply being alive, Zaragoza this time evokes an impressionistic mountainscape, though still combines this romantic image with digital sonic pepperings and minimalist glitch textures throughout.

Review: Marysia Osu's debut album, harp, beats & dreams, is a stunning example of her musical evolution and innovative spirit. Known for her role in Levitation Orchestra and as a Brownswood 'Bubblers' graduate, Marysia blends her classical roots with contemporary exploration in this enchanting release. Originating from Poland and enriched by her musical education in London, she has embraced the harp with profound artistry, now intertwining it with electronic elements and personal introspection. The album opens with the hypnotic 'seatime,' a journey through coastal reverie that celebrates self-acceptance and inner harmony. It continues with 'care to care,' where Levitation Orchestra's Plumm adds ethereal vocals, advocating for self-care and personal space. The track 'memento mori' features YUIS's illuminating flute, echoing stoic reflections on life's impermanence. Marysia's return to the piano and spontaneous clarinet experiments, inspired by a vivid dream, add depth to her soundscape. The clarinet's breath symbolises life's essence, bridging body and mind, enhancing the album's introspective quality. Marysia Osu's debut is a an exciting debut, offering a serene escape thanks to her talent and unique vision.