Back catalogue: Post Rock/Experimental

Review: Yeah X 3, the latest single from David Holmes and Raven Violet's album Blind On A Galloping Horse, diverges from the overtly political themes of the record, instead offering a personal revelation. Featuring remixes by Panda Bear and Sonic Boom, as well as The Vendetta Suite's Gary Irwin, the single showcases diverse experimental approaches. For the A-side, the remixes are atmospheric and heady, creating a euphoric feeling with your head in the clouds. The second remix being the more beat forward version. For the B-side, massive amounts of sound heavily affected the remixes processing. The first being more of an ambient version while the last version is more straightforward and radio friendly. If you like the original song, then these versions will sit alongside them very well.

Review: David Holmes' first solo album since 2008's The Holy Pictures, Blind On A Galloping Horse now comes to Heavenly Recordings. A politically-charged LP full of sonic interrogations of political disaster and turmoil, Holmes here joins the cast of artists using their art to provide solace to music fans suffering at the hands of the Uncertainocene. With updated versions of the previously released singles 'Hope Is The Last Thing To Die' and 'It's Over If We Run Out Of Love', as well as a recording of an unreleased song by Holmes' late friend Andrew Weatherall, we're reminded of conflict, migration and othering, as all manner of voices combine to form a diverse but unified whole against a backdrop of leftfield post-punk - be they the spoken word accounts from Afghan and Ukrainian refugees now welcomed as residents in Belfast, or the French and Irish observers of the UK's turmoil of recent years.

Review: "In Rainbows", Radiohead's seventh album, finally gets a physical release! It's one thing downloading this landmark album, but to actually hold this is something special. Not only do you get increased sound quality, but you also get the amazing artwork from Stanley Donwood. This album includes "Nude", a live favourite for many years that was originally written during the "OK Computer" sessions. More minimal that their "Kid A" period, "In Rainbows" does something that very few albums have done - its sound is distinct from previous Radiohead albums, but is still clearly Radiohead. Hail to the kings, they are back on top form.

Review: The Fear Is Excruciating But Therein Lies The Answer... an arresting sentiment from the band Red Sparowes. The LA-based instrumental post-rock band match the mood of this statement with their third album; yet another take on their epic, cinematic, sweeping soundworld. Just eight instrumentals, from 'Truths Arise' to 'As Each End Looms and Subsides', get at both gargantuan and close-up acoustic spaces, unifying them with a singular emotion we all know: dread.

Review: Beyond his most famous work in The Velvet Underground and as a solo rock artist, Lou Reed lived many other lives in and outside of music. While he's not readily recognised as an ambient artist, his early foray into Metal Machine Music proved he was more than capable of leaving traditional song structures behind. The music on his final solo album, Hudson River Wind Meditations, was originally composed as a private soundtrack to his Tai Chi practice, until friends and fellow practitioners asked for copies and he rounded it out as a full album now faithfully presented on clear vinyl by Light In The Attic.

Review: Heavy duty stuff in all senses, The Residents channelled feeling following the September 11, 2001 terrorist attacks on the US into this three-part concept album. Divided into 'Loss', 'Denial', and, finally, 'The Three Metaphors'. It's as powerful a listen now as it was back in 2002, when it landed on the ears of art rockers and others shellshocked by one of the most significant political events of the post-Cold War period. While there's always been a melancholy to The Residents, this is particularly audible here, although it's delivered through fascinating juxtapositions - the 1980s funk-esque of 'Wolverines', the Parisian pop of 'The Weatherman', the eerie soundscapes on 'Ghost Child', the Broadway balladry of 'The Car Thief'. A fantastic, dense listening experience, which is only elevated by the true meaning and message.

Review: The Residents deliver a live performance that's as eccentric as their decades-long career. Recorded in Fribourg, this show blends their surreal storytelling with experimental soundscapes, creating an atmosphere that's both haunting and playful. The arrangements, reworked for the live setting, highlight their ability to transform unconventional ideas into captivating experiences. This is a snapshot of their raw, theatrical energy, offering long-time fans a reminder of their innovative spirit.

Review: The self-described "world's most famous unknown anonymous art-concept multimedia pop group" return with one of their most expansive, daring, absurd and bad taste visions to date. Doctor Dark is a project over two years in the making while the concept has been in inception for decades with its overarching theatrical narrative inspired by the real life case of James Vance, the young man from Reno, Nevada who tried to commit suicide with a shotgun in 1985 after listening to Judas Priest and the subsequent unsuccessful, infamous 1990 court case that followed. Combining this with the life of the real "Doctor Death" - Jack Kevorkian; the Armenian-American pathologist and proponent of physician-assisted euthanasia, said to have assisted in the deaths of 130 terminally ill people between 1990 and 1998, you get the culmination of an orchestra-backed punk-opera written in collaboration with co-producer/conductor Edwin Outwater and the San Francisco Conservatory of Music. Detailed as "a journey into the greasy world of euthanasia, drug abuse and an unhealthy obsession with heavy metal", revolving around "a couple of heavy metal kids (Maggot and Mark) and an insomniac Russian physician (Dr. Anastasia Dark)", the three-act modern theatre piece offers a head-melting sonic concoction of abrasive art-punk stylings emboldened by complex brass and horn work, with a deft balancing act of chaotic yet controlled punk and classical arrangements. With both CD and vinyl versions including a "read-along libretto", with listeners encouraged to read as they listen to the album, as well as a stage adaptation apparently in the works to follow upcoming live tour dates, this just might be The Residents' piece de resistance of avant-garde art-punk multimedia absurdity.

Review: Finish dub techno powerhouse Joachim Spieth welcomes UK artist Rhubiqs to his well-regarded Affin label for a debut appearance that sinks you into a widescreen world of ambient lushness. His Aegis of Silence album takes cues from divergent sounds like post-rock and soft ambient as well as drone and even modern classical. It's an ever-shifting soundscape with smeared pads and nostalgia dreams, half-remembered thoughts and a sense of mood that ranges from escapist and blissed out to more ominous and paranoid.

Review: Marlene Ribeiro's cult status has already guaranteed copies of this will be flying out faster than you can say "first album under own name after years as Negra Branca, a member of GNOD, and collaborations with luminaries from Valentina Magaletti to Thurston Moore". And her first offering as herself, as it were, rockets straight to the pinnacle of career highs to date, a record that's so full of ideas yet consistent and complete.

Produced between Ireland, Portugal, Madeira and Salford, partly inspired by Ribeiro's grandmother, Emilia, introducing her to the concept of "recording things, here and there". The result is this incredible combination of hallucinatory dream pop, found notes and captured moments, resulting in a vivid tapestry of hook-laden songs that are meditative yet catchy, late-night but bright and breezy.

Review: Raphael Roginski's latest album, ealtys, delves into the rich blend of Eastern European mythology and nature, drawing inspiration from the grass snake ealtys, a revered spirit in Lithuanian folklore. This release follows Roginski's critically acclaimed 2023 album Talan and is steeped in personal and cultural significance. Rooted in Roginski's childhood visits to the Suwalki region of Poland, ealtys reflects his early fascination with Lithuanian music and his experiences recording ambient sounds in the forest with a four-track recorder. The album pays homage to Eastern European folk traditions through its track titles, which are derived from Lithuanian plant names. Yet, Roginski's sound is uniquely eclectic, blending jazz, American primitivism, and mysticism. The music evokes a sense of nostalgia and wonder, reminiscent of nights spent on a Lithuanian lake gazing at the stars. Collaborating with Warsaw producer Piotr Zabrodzki, Roginski explores innovative techniques, including "guitar piano" and overdubbing, to create a resonant, wind-like sound. The album features guest appearances by Indre Jurgeleviciute of Merope and pianist Zabrodski, adding depth to the evocative soundscape. This album has the ability to make new fans of a genre many might pass up or not that get that much exposure. This album is worth your time.

Review: Claire Rousay's Sentiment, her first release via Thrill Jockey, is an audacious leap into a unique blend of folky emo and experimental soundscapes. This ten-track album showcases her fearless creativity, combining Midwestern emo guitar tunings, plucked arpeggios, and Auto-Tuned vocals with her signature ambient textures. While it may initially seem disorienting, this eclectic mix reveals its depth and charm upon repeated listens. 'Head' stands out with its stark, minimalist vocals reminiscent of Julien Baker, while 'It Could Be Anything' channels the emotional intensity of early Pedro the Lion. Another great song, 'III,' aligns closely with Rousay's recent work, offering a cohesive blend of her experimental and melodic sensibilities. 'Lover's Spit Plays in the Background' pays homage to Broken Social Scene and echoes Phoebe Bridgers' introspective style. Sentiment is an ambitious and adventurous effort that challenges listeners to embrace Rousay's genre-blending approach. This album is full of raw authenticity and emotional resonance that make it a rewarding listen for those willing to dive into its intricate layers.

Review: A posthumous release that furthers Arthur Russell's now legendary status. Recorded in Downtown New York City on December 20, 1985, it's an intimate, unedited solo live performance recorded at Phill Niblock's loft space known as Experimental Intermedia Foundation. The takes are very raw and unpolished that it makes you feel like one of the very few in attendance. 'That's the Very Reason' is a beautiful, tender experimental folk piece showing he needed very few materials in order to send listeners on a journey of transcendence. 'Too Early To Tell' is highly idiosyncratic and produces a sound not normally associated with cello. And 'Sunlit Water' has an oriental feel and provides beautiful resolve to a resplendent set.

Review: Surprisingly, Arthur Russell's first posthumous collection of music, 1993's Another Thought, has never before been released on vinyl. With this gatefold double-album, Be With Records has finally set the record straight. It's well worth picking up, not least because the set, which was initially put together after raiding the legendary cellist-turned-producer's archive of unreleased recordings, is little less than superb. Full of hard-to-pigeonhole songs in Russell's unique style - effects-laden blends of cello, acoustic guitar, emotive vocals, twangy double bass and so on - Another Thought contains some of Russell's most refined and emotional recordings, including such classics as 'How We Walk on the Moon' and 'In The Light of a Miracle'.

Review: Those with an intricate knowledge of the sadly cut-short career of the late, great New York experimentalist and leftfield disco specialist Arthur Russell will happily tell you that his most celebrated solo album, World of Echo, was not only developed over several years, but also utilised edited and chopped-up recordings of shows he performed in his home city in 1984 and '85. This release presents both of those performances in full, with Russell - performing songs to his own effects-laden cello motifs and little else - delivering sparse (but effortlessly emotive) early versions and 'sketches'. These are a mix of lesser-known songs and familiar favourites, including a haunting take on 'Let's Go Swimming', a medley of 'Hiding Your Present From You/School Bell', and the inspired 'Sunlit Water'.

Review: These archival recordings of two extraordinary live performances takes you back to when New York City was a bohemian magnet, with low rent and spaces where artists could thrive. Recorded in Downtown in December 1985 and June 1984, the late, great Arthur Russell is captured performing at an intimate loft space known as Experimental Intermedia Foundation, which was run by Phil Niblock. Since the recordings are unedited, it does a really great job of simulating the experience and so if you close your eyes, it's easy to imagine Russell in the room right there in front of you. Of the numbers played, Russell's gifted avant-garde approach to cello is brilliantly done on 'Too Early To Tell'. And the spine-tingling, raw and deeply emotional 'That's The Very Reason' is arthouse folk at its finest. It epitomises the raw, spell-binding talent that Russell had to captivate a room. Hats off to those who have immortalized these very special shows.

Review: Russian Circles is reissuing their legendary album Empros with a new embossed gatefold jacket and printed inner sleeve on clear vinyl with red, silver, and magenta splatter. Empros continues the heavy, melodic journey from 2009's Geneva as it blends crushing rhythms and intense soundscapes reminiscent of Godflesh, Swans, and Neurosis. Recorded at Phantom Manor studio with producer Brandon Curtis, the album showcases the trio of guitarist Mike Sullivan, drummer Dave Turncrantz, and bassist Brian Cook exploring new sonic territories while retaining their powerful live presence. Highlights include the epic '309"' and the dynamic 'Mladek'' which are a perfect fusion of brutality and melody.