The Inward Circles review


I’m a huge fan of Richard Skelton. His aesthetic is fantastic across all of his output: musical, literary and visual.

Please check  out this review of his latest release, under his sometime project name The Inward Circles, over on the Headphone Commute blog.

Also check out his Corbel Stone Press for some of the publishing that he’s been doing. Further musical links can be found from there. I highly recommend.


Anji Cheung ‘Daughter of Fortitude’ review in The Quietus

The initial pressing of this tape by London’s ritualistic drone-meister Anji Cheung sold out in under 24 hours, so Aurora Borealis Recordings have seen fit to offer up a second pressing. Along with her Hypatia tape out via Belgian imprint Audio. Visuals. Atmosphere., Daughter Of Fortitude continues to document Cheung’s drone structures blossoming from their relatively lo-fidelity and guitar-focused past into a broader palette. Cheung’s ability to imbue her soundscapes with an intense sense of dread is stronger than ever here, particularly on 11 minute opener ‘Skry The Blackness Of The Pupil Of My Eye’. Over a murky bed of hypnotic medium paced beats, an endless squall of guttural guitar is guided through a long-suffering amplifier. Besides the deep kick drums, there’s wind-like hiss and grinding high pitched tones too. The quieter next track introduces mumbled voices and stereo shifting brushing sounds, and ‘He Whom The Winds Fear’ mostly features a weirdo priest holding mass in a church of reverb and rumbling calm tones, threatening to lurch back into vaster walls of noise any minute. Later in the ‘440’ adds in some actually pretty pleasant synth pulsations, and closer ’The Nothing Of Night’ manages to be intensely beautiful despite being so quiet and vacant. Anji Cheung is very aptly due to support Stephen O’Malley and Peter Rehberg’s KTL at St. John on Bethnal Green Church in February, so Londoners would be well advised to both attend and pick up a physical copy of this while you’re at it.”

 Purchase a copy HERE.

Memnon Sa interview

“When last we heard from Memnon Sa on 2015’s much-lauded Citadel, the project was a doom-laden trip into a murky, ancient-feeling world, a guitar-driven, monolithic piece of singular atmospheric heft.

This year comes its follow-up, Lemurian Dawn, released via Aurora Borealis (home to the Haxan Cloak, Grumbling Fur and more), on which creative force Misha Hering has made the bold decision to drop the guitars almost entirely.

In their place is introduced an array of analogue synthesisers, ancient instruments, strings and throat singing, lessening the influence of heavy doom in favour of a sound heavily influenced by science fiction.”


Read the full interview with Memnon Sa on The Quietus.


Culture: Gisèle Vienne

Nice piece on the work of the incomparable Gisèle Vienne over on Dennis Cooper’s blog, giving an update on her activities and upcoming performances. We first met Gisèle when AB released the vinyl version of the Kindertotenlieder ‘soundtrack’ by KTL. Her work is some of the most arresting and memorable we’ve ever witnessed, and her use of mediums such as dance, puppetry and ventriloquism in telling transgressive tales is genius.

On ventriloquism: Passionately eclectic, in search of all the blind spots that link the word to the body, Gisèle Vienne has seized in its own way this technique decommissioned and relegated to pure and hard entertainment: “It is a kind of acoustic magic trick. ”

Read the full piece here.  Visit Gisèle’s site here for more details.


Audial: Gideon Wolf


“Year Zero carries a beautifully sentimental texture, color, and tone of modern classical strings, sparkling keys, and rumbling synth lines. This is, without a doubt, a cinematic album, eliciting moments of solitude, disquiet, and grief. That is not to say that the music is anguished and dark, but rather it is all-encompassing in its sensibility, ranging from a heartbreak to happiness, sorrow to joy.” – Headphone Commute

Year Zero  by Gideon Wolf is an amazing album, which ticked all my boxes when it came out in January (which incidentally seems at once both long ago and very recent – where does the time go?). Fluid Audio released a beautiful limited CD edition and the entire package really was a thing of beauty.

Expect more Gideon Wolf news from us very shortly, we’ll be releasing something by the end of the year. In the meantime, please do check out the album.

Gimu review


GIMU is a Brazilian sound artist responsible for ‘Gone Again, Haunted Again’ which plonked through me door on cassette via Aurora Borealis Records. Whereas I suggested Harvestman to be a terrestrial experience, Gimu is intent on launching the listener away from the earthly and into expansive otherworldly dimensions. Vast reverb soaked sonic vistas skirt celestial thresholds, with largely synthetic pads and swells carrying the listener lazily within endless and expanding dark spaces. This release for me symbolises escapism and meditation, though there is a hint of bleakness that prevails largely I suspect due to a feeling of insignificance of self in such endless soundscapes. The track and album titles for me suggest much negative emotion, ‘Mercy is a Dead Word’ and ‘It’s Gone Wrong Again’ though in reality the music evokes quite the sense of hope. Quite the trip.



If you’re seeking sounds from the outer limits you could do a lot worse than listen to the excellent Muhmur radio show. If you’ve a penchant for the obscure and the challenging, this is well worthy of your time.

Steve’s been fighting the good fight since before you were eating solids. He is a wealth of knowledge about underground music, so expect your horizons to be broadened with each listen.

“As loud as possible” with noise artist Dieter Muh (Steve Cammack).