“Suzy Poling’s Pod Blotz project arrives on Glasgow label Clan Destine with Glass Tears, the latest album in a long line of releases dating back to her emergence under the name back in 2002. Hailing from Detroit, Poling has been involved in quite a wide range of artistic endeavours over the years, be it installation works, photography, video and performance art, with visual work that seems to parallel and overlap with her output as Pod Blotz.
From the very start of the album, Poling introduces a sense of tension that builds with terrifying urgency. Rattling drums weave throughout nightmarish electronics of opening track “Relay” with spine-chilling wails that expose a sense of subdued agony. Continuing the theme, the aptly named “Mirrored Tundra” has a darkly paranoid sensibility; it’s a track that largely relies on percussion, the kind of drumming and tapping that recalls youthful experiments with old pots and pans. Meanwhile, harsh electronics once again unfold beneath, lashing out like sirens in shrieks of desperation. The album hits its stride with “Die and Come Alive” which is perhaps the most accessible track of the album, with an enticing melody sung by Poling’s heavily treated vocals over repetitive synths, whilst retaining the same experimental curiosity of previous tracks…”
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Toy Planet- Rapido de Noir
Prof Genius- Valleys of Paradise (Steve Summers)
St. Julien- Lazor
Carol- So Low
Michael Hann aka Rejections, is a musician based out of Teesside and also runs the label Reject and Fade. Michael’s work deals with scuzzed-up electronics and harsh industrial textures, with releases on his own label as well as Opal Tapes and Jehu and Chinaman.
“droning rhythm emerging out of cyclical, dissipating metallic synths and pulsating noise waves. Stabs of distorted sonar-like sound fire across the stereo range like the final distress calls from a submarine teetering on the edge of some gargantuan abyss, before finally disappearing into the black with a steely, echoing scream.”- Laurie Tuffrey (the Quietus)
Cello, voice and electronics collide in a whirlwind of improvised experimentation from this London three-piece. Vicky Steiri, Adam Christensen and Jack Brennan create shadowy sonic offerings, where dark velvety cello soon turns into fierce turbulent outbursts, often driven by electronics. In the past they have performed at the New Museum of Contemporary Art ‘The Lion Tamer’ (music for Spartacus Chetwynd’s performance), as well as a live soundtrack for Jack Smith’s Normal Love at the ICA (London) and a live composition in Hotel Garderobe in response to Carl Theodor Dreyer’s 1928 Passion of Joan of Arc.
“Burma Camp’s release on Avian’s 10″ sub-label Mira is a new venture for The KVB’s Nicholas Wood aka Klaus von Barrel, a fuzzed-out sonic excursion, set out for more industrial sights. Since their emergence in 2010, the KVB have put out a number of releases, including a 10” appearance on the DNS series from Karl O’Connor’s Downwards imprint, as well as releasing Immaterial Visions on Veronica Vasicka’s Minimal Wave offshoot, Cititrax.
There is an experimental abrasiveness that recalls bands like Wolf Eyes, well known for their noise conjuring antics. Additionally techno leanings become apparent throughout the releases, with hypnotic beats that bring to mind the music of Juan Mendez’s Silent Servant project, who has been instrumental in The KVB’s releases, helping to curate their work on the Downwards label (and notably, he was also responsible for the artwork here).”
check out the rest of the review HERE