Back catalogue: Post Rock/Experimental

Review: Jim Black's Houseplant sees the progressive-jazz drummer continue to refine his signature style, a fusion of jazz and rock that's as quirky as it is inventive. While not a radical shift from his previous works, this 2009 release showcases Black's distinctive approach to drumming, blending complex rhythms with sly, punchy backbeats that keep the session lively. Backed by his longtime band Alas No Axis, Black delivers a sprightly set with guitarist Hilmar Jensson, whose polytonal riffs add texture, and saxophonist Chris Speed, who brings a smoother edge to the more intense moments. Tracks like 'Malomice' highlight the band's ability to shift seamlessly between acid-rock and jazz, with Speed's saxophone weaving off-kilter melodies over Black's precise, crashing grooves. The mood softens on introspective cuts like 'Elight,' where the musicians ease into more delicate, atmospheric territory. Bassist Skuli Sverrisson provides the glue, his limber playing driving the energy throughout. Houseplant is a masterclass in balancing catchy riffs with jazz improvisation, offering an intense but melodic exploration of jazz-rock fusion.

Review: Recorded for BBC Radio In Concert during Can's 1973 UK tour, this exceptional live performance showcases the cult favourite band at their peak. The five-piece group did their usual trick of expertly weaving together repeating themes and riffs while responding to each other in real-time. The dynamic interplay between keyboards from Schmidt, guitar from Karoli and Suzuki's vocals is driven by the powerful Czukay and Liebezeit rhythm section. Featuring comprehensive sleeve notes and full recording details, this release includes all tracks written by Can members Czukay, Karoli, Liebezeit, Schmidt and Suzuki, all of which were captured live at The Paris Theatre, London on February 19th. A great bit of Can history.

Review: Recorded in October 1997, but lost and rediscovered two decades later by digital artist Gvoon Arthur Schmidt, GVoon: Brennung 1 is one of countless gems nestling in the sound archives of the late, great Holger Czukay. Described as a "futuristic sound meditation" by remastering engineer Dirk Dresselhaus (better known as experimental electronica producer Scheider TM), the single, expansive piece was created by Czukay at a point in time when he was happily working with German techno and electronica producers (Westbam included) while exploring the potential of digital music-making and production technology. The results are typically immersive, enveloping and off-kilter, sounding as far-sighted and ahead-of-their-time as they no doubt did when the piece was originally recorded in 1997.

Review: After a period of roughly three decades, German soundtrack artist and onetime Karlheinz Stockhausen apprentice Holger Czukay shares a surprise trove of lost tapes, which are said to have been once recorded by the artist for "free disposal" and which were presumably forgotten about at the time. Now available, all of said material is said to date back to at least the 1990s, and marks the forward thinking and "ahead of its time" (as remarked by fellow producer Schneider TM) approach to cold Kraut and experimental wave that informed Czukay as he experimented freewheelingly with beatmaking while in the company of further fellows Dr. Walker and Air Liquide. Also evolving in temporal conjunction with an experimental live show involving body tracking tech, fashioned by mixed media artist Arthur Schmidt, there are implicit themes of virtual reality and haptic sound control here. Way ahead of its time indeed.

Review: Homaging mutuality in a robust creative dialogue, More Eaze and Claire Rousay add another flash of brilliance to a mesmerising string of allegorical LPs. Both born in San Antonio, Texas, Rousay and Eaze (Mari Maurice) riff (literally) on strummed country and noise rock echoes, reflecting an uptick in electronica artists sound-repainting the lonesome grasslands and desert great plains of the mid Southern United States. Yet on No Floor, there is an ardent sci-fi leitmotif too, producing a techno-realist vision reminiscent of a Texan Death Stranding and/or Simon Stalenhag painting. From 'kinda tropical' to 'limelight, actually' we hear shortgrass droughts, short-wave police radio chatter, and the bootup zaps of a beaten up pocket survivo-droid, as it scans the semidesert we alone must brave.