Slide 1
Review: Retribution Body, "Baphomet"

By Steve Dewhurst

For Baphomet‘s creation, Matthew Azevedo decamped to Methuen Memorial Music Hall, replete with its 160 year old Great Organ and famed four-second reverberation.

Pete Swanson
A Folk Music of Sorts: An Interview with Zefan Sramek of Precipitation

By Jason Cabaniss

"For much of my work, both musical and otherwise, the notion of place is very important. That’s one of the reasons I like using field recordings."

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Inbox #10: Real Life Ambient Top 10

By Emmerich Anklam

Greil Marcus, whose books like Mystery Train and Lipstick Traces and The History of Rock ‘n’ Roll in Ten Songs deepen the mysteries of rock music instead of explaining them away, has kept up his Real Life Rock Top 10 column with few interruptions for more than thirty-five years. This edition of The Inbox is structured after his column and dedicated to him.

Slide 2
Guest Playlist #08: H. Anthony Hildebrand

By Steve Dewhurst

“The first album I was given was Rolf Harris’ Greatest Hits... that’s how not cool the music happening at our house was."

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Watch: Automatisme & Stefan Paulus, “Säntis”

Taken from the forthcoming album Gap/Void, due for release via Constellation on 20 May, this debut collaborative track from William Jourdain (aka Automatisme) and Swiss field recorder Stefan Paulus morphs from zippy electro ping-pong to dread-filled Alpine gale with all the creeping, nerve-wringing subtlety of a great horror film. 

Having first met as contributors to the Ultrablack of Music compilations for Mille Plateaux, it wasn’t until 2021 that Paulus approached Jourdain with a proposal to intertwine his field recordings of storms and creaking glaciers with his Canadian counterpart’s glitchy click ‘n’ cut signal processing. The resulting music is a beautifully deep and complex blend, with Jourdain’s micro-samples pinging and popping around the ice cave walls brought to towering, immovable life by Paulus – a terminal battle between abrasive synthetics and the vastness of the earth itself. “Säntis,” the lead track, lays bare the conflict, for all intents and purposes a classic track of two halves. As enjoyably mind-boggling as Automatisme’s opening electronic barrage is, there’s a rare thrill to be found in the howling storm that creeps in to obliterate it as Paulus takes control, and a refreshing clarity to the way the contrasts are presented. Paulus’ own pin-hole photographs have been overlapped to make the video, itself a hypnotically daunting display of elemental grandeur – you can watch and enjoy that below.