Archive for the ‘Singles and EPs’ Category

Chess Smith – I’m Dead to You (And That’s OK)

Posted: 18 May 2026 in Reviews, Singles and EPs
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22nd May 2026

Christopher Nosnibor

After last summer’s Saving Lilibet EP, Chess Smith continues her march back toward life-reclamation and self-possession with another slice of sparse yet crisp pop with intensely personal, autobiographical lyrics, in the form of ‘I’m Dead to You (And That’s OK)’.

It’s worth quoting the statement which accompanies the release, as it not only articulates the song’s meaning beyond the lyrics, but it’s an incredibly bold insight into an experience which few would be willing to articulate – and, essentially, she recognises that her experiences possesses a relatability. As I often say, within the personal lies the universal:

The single explores the very relatable fallout that occurs when relationships break down – and how women in particular often suffer the loss of friendships, support networks, and even their careers, as sides are taken, battle lines are drawn, and the people who you thought you could trust show their true colours… The people who you gave so much of yourself to, only for them to treat you like you never existed – or worse, tear you down, and drag your name through the mud.

More importantly though, I’m Dead to You is about turning these often painful realisations into positive self-affirmations – those people were never your friends… so don’t waste your energy missing something that you never truly had, and instead be happy that they’re no longer part of your life. Take away their power, take back your name, and eventually they’ll be consumed by their own toxicity… just as surely as they once tried to consume you. 

While I can in no way claim to have experienced a precisely parallel journey, the loss of my wife at the age of 44, leaving me as a single parent with a ten-year-old daughter taught me lessons I had never expected. For example, when everyone says in the first couple of weeks ‘if there’s anything you need’ or makes some comment about keeping in touch, either they’re just saying it to fill the conversational space and sense of obligation, or they mean it until after the funeral, when everything returns to normal -at least for them. Supposedly close friends evaporate, and fast.

‘Took a break to give myself time,’ she begins her story, and we know straight away that this is a straight narrative. Some of the words are lost in the rush of energy and autotune, but the sentiment is clear: she’s not going to dwell on the people who don’t bother. Life’s too short, and friendship is a two-way street. It certainly shouldn’t be the one who’s experienced a major life event who should have to reach out and beg.

It may be that those ‘friends’ go about their lives in the assumption that if the persons doesn’t ‘reach out’ that they’re ok, but that demonstrates a lack of understanding. It’s much harder to ‘reach out’ in a time of crisis than it is to check in on someone who’s in the midst of one. So what do you do? Sink or swim. It’s not easy to cast off the people you’ve ached to hear from but who seem deaf to any previous intimations of struggle. But that is the only way to stay afloat. Grow a thicker skin. Fuck ‘em.

The fact that ‘I’m Dead to You’ is delivered as a bubbly, energetic, uptempo, and really quite busy pop tune is a double-edged: on the one side, there’s possibly an element of masking the anguish of abandonment beneath a polished pop surface, but on the other, and this is the top side, it’s a sassy celebration of empowerment, of cutting loose, separating from the wheat from the chaff, and recognising who your real friends are.

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Watch: ‘Viper’ by The Howlers

Posted: 18 May 2026 in Recommended Streams and Videos, Singles and EPs
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The Howlers have delivered the first glimpse at their highly-anticipated sophomore album in the form of new single ‘Viper’. Carrying the band’s classic desert rock swagger, the track is accompanied by an epic video of a backlit frontman Adam Young, trusty fringe leather jacket in tow. “I’m not your usual type,” he shrugs, “but let’s pretend for the night.” Driving riffs and comparatively delicate vocals reintroduce the band, setting the scene for new album Heavy – an album exuding confidence and identity – which is set for release this autumn.

Speaking about the forthcoming new album, Young states:

“This album is those late night experiences, the after dark conversations, late night phone calls, the seductive nature of impulsiveness that seems so alluring and losing yourself in the addictive nature of recklessness, but it’s also the mirror in the morning, the wake up call, and the harsh reality of knowing those feelings won’t always last and it’s the moment you find yourself again.”

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The Howlers’ debut album What You’ve Got To Lose To Win It All earned the band a UK Official Charts Top 10 position and multiple chart positions across mainland Europe, where they also completed a headline tour last March. The record represented the emotional toll of personal loss, written and conceived by Young as a means to express and share his own experiences.

Outwardly the band was riding the high of success, but behind the scenes they were falling apart amidst the burden of independent releasing. But in the wake of the new year, Young set about working on the foundations of what would become the band’s second album. Galvanised by his newfound independence and reshaping the band into a two-piece, The Howlers recorded and released their rebirth singles ‘Night Crawling’ and ‘You Can Be So Cruel’.

This propelled the band across the continent, testing the waters on new material and rekindling a love for performing. The band have built a reputation as one of the country’s must-see bands, with plans to head back out on the road in the UK and EU surrounding their new album later this year.

Heavy, The Howlers’ sophomore album, is set for release via Frontiers Label Group on 9th October. Tour dates are soon to be announced.

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Listen: ‘Obey’ by Hunter As a Horse

Posted: 17 May 2026 in Recommended Streams and Videos, Singles and EPs
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Hunter As a Horse (HAAH) is the South African musician and vocalist Mia van Wyk. Based in the Western Cape, she has spent the last few years self-releasing a diverse series of singles and EPs that combine electronically-focused songs with intense, thoughtful lyrics that are given a darkly cinematic production.

HAAH signed to Metropolis Records in early 2026 and have released a fourth single on the label entitled ‘Obey’. “It comes from a place of integration rather than surrender and is a conversation between past and present selves, the fragments that once felt chaotic now finding form within something chosen and intentional,” says van Wyk of the downtempo, moody yet rhythmic electronic song. “What might sound like submission on the surface is, for me, an exploration of trust, control and the quiet strength in allowing oneself to be seen and shaped without fear. The song moves through tension and release, discipline and desire, capturing that paradox where restraint becomes freedom. It’s less about giving something away, and more about stepping fully into a self that no longer needs to resist its own nature.”

‘Obey’ follows ‘Lighthouse’,  a haunting song that wove mythology and psychology together in an electronic soundbed; ‘Here’s To All The Ones’, a shimmering indie-electronic pop track tinged with melancholy; and ‘Paradise Lost’ , a pulsating yet amospheric dark pop song. All four songs will be included on a new HAAH album, ‘Paradise Lost’, which is scheduled for release on 24th July.

Hear ‘Obey’ here:

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HUNTER AS A HORSE | Mia van Wyk (photo by Terry Palamara)

Watch: ‘A Dying Star’ by Earthside

Posted: 16 May 2026 in Recommended Streams and Videos, Singles and EPs
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Many of Earthside’s most powerful songs come from an overwhelming feeling brought to life in music—with only the words of a thought-provoking title setting the scene.

Such is the case once more with the instrumental calamity called “A Dying Star.” The first taste of music in Earthside’s new era, the track is a bludgeoning journey through the inner cosmos—in all its destruction, disorder, and uncertain promises.

The band state, “’A Dying Star’ is yours.  With chaotic intensity cranked to the max, ‘A Dying Star’ bludgeons the senses with the fury of a meteor shower and the heart-wrench of a broken dream.”

Watch the official visualiser video here:

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Earthside, a group that burned brightly—and burned themselves out under the weight of their ambitions, convictions, and disillusionment—forged ‘A Dying Star’ in a phase of strife and inner-turmoil within the group. For the first time, geographically, separate and growing apart, the members were tasked with creating an explosive high-energy live song—with only a drummer and piano player available at the initial writing.

The result being an unconventional and chaotic song; different from anything released thus far by the band, but unmistakably Earthside in every identifying sense.

As time passes, the identities, the dreams, the senses of self that defined us from our earliest memories lose their spark and grow dim. Some burn out brightly—others leave a devouring hole in their wake. For some, there is hope that the bright debris of the previous star can nurture creation once again in its aftermath—but for others, the void is all that remains. Such is the chaotic uncertainty and driving angst of ‘A Dying Star’.

A song of many firsts for the band, its process sent the group out of their typical surroundings and up to beautiful Val-David, in Québec, Canada to write and self-record ‘A Dying Star’ on-location at Luckchild Studio. Earthside used the stunning natural vista of the Canadian countryside as a mood-setter for their new output alongside a wealth of vintage pedals and percussion at Luckchild to add new stylistic flavors to the mix.

A Dying Star marks a return to the core of Earthside’s sound—the unmistakable soul of the music its four members create together as an instrumentally-driven unit—Showcasing the group’s spellbinding sense of sonic storytelling with soothing nocturnal atmospheres and crushing, climactic extremes.

Spearheaded by keyboardist Frank Sacramone and his furious piano runs, which collide with Ben Shanbrom’s force-of-nature drumming—the outcome is fresh and unexpected.

Earthside recently announced their debut foray into headlining some key European shows in May/June 2026 to round off the chapter for “Let The Truth Speak”.

Earthside’s blend of cinematic post-rock tendencies with worldly collaborators bring a type of live energy that is unique and compelling amidst their peers. Earthside weaves between an instrumental band and one who is enhanced by visual elements and collaborators, presenting a unique show for all to see.

The band will be supported by cellist Raphael Weinroth-Browne across all dates plus local supports.

Earthside live shows:

Friday 22nd May – 229 The Venue – London, UK

Saturday 23rd May – Glazart – Paris, France

Sunday 24th May – Boerderij-  Zoetermeer, Netherlands

Wednesday 27th May – MTC – Cologne, Germany

Friday 29th May – Betty – Hamburg, Germany

Saturday 30th May – Stengade – Copenhagen, Denmark

Monday 1st June – Kollektivet Livet – Stockholm, Sweden

Thursday 4th June – On The Rocks – Helsinki, Finland

Friday 5th June – Ankea Festival – Tampere, Finland

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Listen: ‘I Speak Forgotten Voices’ by Trelldom

Posted: 14 May 2026 in Recommended Streams and Videos, Singles and EPs
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Iconic Norwegians TRELLDOM, founded by legendary vocalist Gaahl, now reveal the eerie advance single ‘I Speak Forgotten Voices’ as the final track selected from their forthcoming new full-length: …by the word…

…by the word… has been chalked up for release on May 29, 2026.

TRELLDOM do neither comment on their music nor explain their art.

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With …by the word…, TRELLDOM are pushing forward hard into their new musical era that was ushered in by the previous full-length …by the shadows… (2024), which ended a 17-year hiatus of the Norwegian band.

Mastermind Kristian Eivind Espedal aka Gaahl and his diligently selected collaborators have gone even beyond the complex yet sinister sound that they established with …by the shadows… The exponentially grown confidence and hard-gained experience of joining together seemingly quite different musicians is reflected clearly in each track of …by the word…
TRELLDOM have concluded the process of escaping the narrowest definition of black metal without compromising their artistic mission. Their music does not only stay loyal to the spirit of their black metal roots, but the Norwegians are making a solid point that their new sound is even more dark and fierce than ever before – just in more twisted and unhinged ways.
…by the word… is the result of Espedal expanding the immense range of his vocals even further into unexplored territories. And it should be noted that this was partly achieved by his return to the famous Grieghallen Studios in Bergen to work again with legendary producer Eirik Hundvin aka Pytten, who was instrumental in the creation of the ‘Norwegian black metal’ sound.

Although Espedal remains firmly at the helm of TRELLDOM, the current line-up plays a massive part in the fresh exploration of musical extremes. Guitarist Stian “Sir” Kårstad (formerly also in DJERV) guarantees a form of continuity as he already contributed to the second and third album of the band. Furthermore, the new constellation features renowned percussionist Kenneth Kapstad, formerly of MOTORPSYCHO and hammering the drums in SPIDERGAWD, MØSTER!, and THORNS. Kapstad brought the internationally acclaimed jazz musician and saxophone player Kjetil Møster (MØSTER!, RÖYKSOPP, THE END) along. Bass player Eirik Øien is the latest addition to the cast of characters.

TRELLDOM were founded by Gaahl in Sunnfjord, Vestland in 1992. The band’s early trilogy of albums, Til evighet… (1995), Til et annet… (1999), and Til minne… (2007) are all regarded as underground milestones of black metal history. Espedal is widely accepted as one of the leading figures of the Nordic black metal scene. The enigmatic vocalist joined the notorious Bergen outfit GORGOROTH in 1998 but soon contributed to a wider range of projects that include Einar Selvik’s WARDRUNA, GOD SEED, and in 2015 he also launched his new band GAAHLS WYRD.

TRELLDOM continue in the tradition of all of Espedal’ art, which asks to always expect the unexpected. With …by the word… the exploration of avant-garde dissonance, wicked rhythm patterns, and wild ideas again destroys preconceptions and demands intense listening. Better prepare to be challenged by every note!

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Octavian Winters – By the Stars

Posted: 13 May 2026 in Reviews, Singles and EPs
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Stratis Capta Records – 13th May 2026

Christopher Nosnibor

While gearing up for a second EP, San Francisco’s Octavian Winters give us the single ‘By the Stars’ – and while it’s quite the contrast from its predecessor, the adrenalized slice of post-punk that is ‘Elements of Air’, the distinctive key elements are still very much in evidence, not least of all the robust drumming, and the catchy shoegaze pop shades, which are keenly reminiscent of Curve.

The intro sets the tone for the song, introducing elements of light and shade, whereby a soft chiming guitar – wistful and ponderous – contrasts with a darker-sounding Cure-like chorus-soaked bass and rolling tom-led drums which arrive shortly after. Ria Aursjoen’s sweetly melodic vocals add a whole other dimension. From hereon in, the song swirls around amidst hazy atmospheres.

The song possesses a dreamy quality, and the structure is more a sequence of segments than a more conventional verse / chorus, which only accentuates the sense of the song being a journey, with a sense of flow and transition instead of feeling constrained. The effect is to lift the listener, not necessarily out of body, but momentarily out of time, and to another space, a space apart from the grounded world. And right now, when the (supposedly) grounded world is hard to deal with, these five minutes of uplifting separation are absolute bliss.

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Photo by David Kruschke

Watch: ‘Gerbera’ by MONO

Posted: 13 May 2026 in Recommended Streams and Videos, Singles and EPs
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Japanese post-rock legends MONO recently announced details on their new album Snowdrop set for release on 12th June via Temporary Residence. This is the band’s first album made with Brad Wood (Touché Amore, The Smashing Pumpkins), following the passing of longtime collaborator and friend, Steve Albini.

Taken from MONO’s 13th album Snowdrop, scheduled for release on 12th June 2026 (Temporary Residence), a new single ‘Gerbera’ is out now with an accompanying music video.

For Snowdrop, the band wishes to express their eternal gratitude to those precious people who have walked alongside them on their journey of life, by incorporating the messages imbued in flowers given to those who have passed into the song titles on the album.

MONO’s Statement:

“The language of flowers for the Gerbera is ‘faithful love’ and ‘cheerfulness’. The countless, precious memories I share with you will never be forgotten. I am so glad that I met you. Innocence, purity, joy, beauty—and I will never forget your smile.”

Yusaku Mitsuwaka, ‘Gerbera’ Director:

“During the shoot, the wind swayed the silver grass wildly, resonating with the band’s performance and blowing through as if it were music itself. Guided by the wind, the camera danced, and ‘Gerbera’ became a music video brimming with vitality. Even in today’s fractured world, the act of loving and being loved remains unchanging. I hope this wind reaches the heavens. I would like you to watch this while thinking of someone dear to you.”

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“Without exception, everyone will eventually depart this world and face the parting from their loved ones. Through this album, we wished to express our "eternal gratitude" to those precious people who walked alongside us on the journey of life. We believe this sentiment is the only thing capable of filling the void left in our hearts and easing the profound sorrow and pain of loss. Every flower carries its own unique language. For this album, we incorporated the messages imbued in flowers given to those who have passed into the titles of our songs. Our hope is that this album serves as a source of light and hope for those who have lost someone dear.” – MONO

When MONO recorded their previous album, OATH, with longtime production partner and friend, Steve Albini in 2023, they never fathomed that it would be the final studio album they made together. Albini tragically died the following year, and that loss left an incalculable void in the lives of not just everyone who ever knew Steve, but everyone with an attachment to any of the thousands of records he helped bring into world over the past four decades. He brought a clarity to the chaos, and a selfless sense of service to art and artists that was unrivalled. On both a personal and practical level, the loss left MONO faced with profound grief and uncertainty. Albini had become a fundamental part of MONO’s unmistakable sound, and the thought of replacing him was daunting, to say the least. Enter: Brad Wood(Touché Amoré, The Smashing Pumpkins).

Chosen for both his familiarity with MONO’s creative and technical working process – as well as his decades-long friendship with Steve Albini – Brad Wood entered Albini’s storied Electrical Audio studios in September 2025 to record what would become Snowdrop. Once again working with Chicago-based conductor and orchestral musical director, Chad McCullough, MONO enlisted a 10-piece orchestra as well as an 8-piece choir for the eight massive pieces that make up Snowdrop. With the band performing and Wood recording in the same hallowed space where most of MONO’s records had been made in their quarter-century history, the songs on Snowdrop carry an extra weight. Mixed by Wood at his Seagrass home studio in Los Angeles, the album is equally intimate and enveloping.

Where there could easily be a pall hanging over Snowdrop, there is instead an extraordinary air of gratitude. Rather than steep in heartache, there is a poignant appreciation for the resonance of life well-spent with a dear friend – and the yearning for what may come. Snowdrop is the sound of a band turning shock and sadness into hope and wonder – and finding renewed focus in the freedom of unknowing.

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Photo by Carlos Cruz courtesy of KEXP

GURT – Survival of the Shittest

Posted: 12 May 2026 in Reviews, Singles and EPs
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5th June 2026

Christopher Nosnibor

I laugh, because the phrase ‘survival of the shittest’ was a phrase I used – a lot – in the late 90s, in my early years of being thrown into the corporate world after completing a degree in English literature. Back then, the belief still existed that a better education would lead to a better job, although in the three years between starting my degree and finishing it, a lot changed, and none of it for the good. ‘Graduate jobs’ stopped being a thing, meaning that it was a feat just to land a temp job doing data input work at an insurance company. It was fucking soul crushing, and Charles Bukowski’s Factotum became a book I came to relate to all too closely as I trudged my way through what felt like endless drudgery. And the managers, those who got promoted, those who did well? The common trait among them seemed to be that, when you boiled it down to the basics, they were all cunts. Backstabbers, self-promoters, overconfident wankers, twats with all the ambition but none of the skills… these bastards were killing it on the career ladder, while I sloughed away in a pit of despair. Scum floats, and all around me, it did. I wasn’t envious of their lives or their ‘careers’, but it was a gut-wrenching showcase of the shitshow that is capitalism and the greasy pole of corporate life: the survival of the shittest in sharp relief. This is now true of all aspects of life: as politics has become indistinguishable from business, and capitalism has taken over all aspects of existence, every bugger is using business-speak and striving to attain success not by means of hard work and talent, but by connivery and cuntishness. And it needs to be called out, and blocked wherever possible.

This new EP by GURT is nothing less than an absolute beast. With three tracks clocking in at ten and a half minutes, there’s no flab, no extravagant solos, no wanking about. They’re described as purveyors of ‘party doom’, but they’re a bit too uptempo to be doom and far too doomy to be party for most. Ultimately, their thing is a rabid racket, and at times, I’m reminded of the Leeds scene circa 2010 and shortly after, specifically around the emergence of crazed guitar noise acts like Pulled Apart by Horses and These Monsters. These were exciting times, particularly as it predated the need for professionalism to make it even onto a stage. Don’t get me wrong: these were great bands, but they were also wild, and things feel a lot more contained now.

GURT do not feel contained, GURT feel deranged, unhinged, rampant. ‘Live Nation, Dead Scene’ goes in all guns blazing, a rabid rager presumably targeted at the multinational ticket agency – operating what’s probably one of the biggest legal scams on the planet right now, with their exorbitant fees and dynamic pricing. The music industry has always sought to gouge every penny from fans while the artists themselves wallow at the bottom of the pile when it comes to benefiting from the proceeds, but Live Nation have hatched a whole new level of exploitatious robbery. They are literally – and yes, I do mean that – killing music for profit, and should be boycotted at all costs. I doubt this is a major issue for GURT.

The title track is a low-slung, sludgy, riff-driven roar, propelled by some ferocious drumming. The vocals are mangled to all hell, and it’s seriously gnarly.

Their cover of 2 Unlimited’s ‘No Limit’ simply shouldn’t work. It’s truly preposterous, audacious, and absurd. Metal covers of pop and dance tunes is old hat, predictable, corny… and yet they overcome all of this to conclude the EP with a ballsy, over-the-top take on a dance-pop song that’s as maligned as it was successful. This version’s not going to be making number one in a hundred countries around the world or filling dancefloors in perpetuity, but credit to GURT for the inspired choice. And now ‘party doom’ makes sense. Get on down, motherfuckers!

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Watch: ‘Shame!’ by LiVES vs Dolium

Posted: 12 May 2026 in Recommended Streams and Videos, Singles and EPs
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Dolium x LiVES collide on ‘Shame!’, a high-friction joint single that blurs the line between collaboration and confrontation. Rooted in indie rock and sharpened by punk urgency, it’s a track driven by tension, energy, and shared intent.

Since reforming in 2024 for the 20th Anniversary of their label, Sister 9 Recordings, lo-fi/post-punk/scuzz-rockers Dolium have been quietly building toward a new chapter. In their early days, the band caused quite a buzz on the UK underground music scene, catching the attention of BBC radio legend, John Peel.  That legacy is captured in their critically acclaimed limited-edition 4CD box set, The Products Of Our Own Demands And Commands. Now, in 2026, they return with renewed focus, and a new era of furious punk rock.

Born in Cornwall and sharpened in Kent, LiVES are a visceral collision of post-punk intensity and hard rock precision. Their debut album Let Them Eat Cake landed like a fist through a wall, fast, aggressive, and socio-politically charged. Louder Than War called it “a nihilistic expression of anger and disillusionment.” Their track Just Can’t Get Enough reached a wider audience through its placement on the Netflix series Lucifer. With airplay across BBC 6 Music, Radio X and BBC Introducing, a sold-out European tour, and support slots alongside Buzzcocks, SPAN and Danny Wildheart, LiVES have built a reputation as a band made for rooms that sweat. They return here in full force.

The creative spark was immediate.“I knew I wanted to work with someone that had as much anger and attitude as me. The moment I heard Rhys’s work, I was like, hell yeah… this is fire.” – Peter (LiVES) What started as a skeletal, verseless track quickly evolved into something more dynamic. Dolium took the initial framework into the studio and, as Rhys puts it, “added their venom,” with the song ultimately “bent beautifully into shape between us from across the miles.” Built remotely, with ideas passed back and forth, ‘Shame!’ became a true crossfire – LiVES driving the choruses while Dolium took command of the verses. The result is a track that feels both fractured and unified: two bands, one shared fury…

LiVES vs Dolium – UK duel headline shows

15 May 2026 – The Dead Famous, Newquay

16 May 2026 – The Water Rats, London 

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The Sunken Land – up close everything melts into air

Posted: 11 May 2026 in Reviews, Singles and EPs
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17th April 2026

Christopher Nosnibor

Since emerging as The Sunken Land not so long ago, David Martin has focused on his consistent push forward, and his systematic output. One gets the impression that this is much more driven by a desire to render new sonic art, than the capitalist compulsion, now being pushed by streaming sites, to continuously create ‘content’. And for that, I say ‘good’: content creation as a goal in itself is as anathematic to art as AI itself: creation for the pleasure of the act, however, is an entirely different matter.

This, the third release by The Sunken Land – and the third in four months – is perhaps the most ambitious yet, making deeper explorations into texture, tone, and contrast.

Admirably, there is no information about this release: it’s left for the listener to unravel. And why shouldn’t it be? While it can be interesting to learn where there’s a specific back-story, motivation, meaning, or method which is vital to a work, more often than not, the endless explication given by some artists gets to be a drain after a while. It can also make the writing of a review feel somewhat futile, as if half the job’s already been done.

As the title perhaps suggests, there’s a sense of ephemerality to the three compositions on up close everything melts into air. The first, ‘scoria bricks’ is an eight-minute piece which overlays a heavy, pulsating drone, dense with distortion, with soft, comparatively clean notes, which at times sounds like Earth attempting to cover Fleetwood Mac’s ‘Albatross’. The contrasting parts, while distinctly separate, form a full-spectrum sonic flow, which is both immersive and strangely soothing.

Some cursory research, meanwhile, reveals that a scoria brick is a type of blue-grey brick made from slag, originally manufactured from the waste of the steelworks of Teesside, common across the North-East of England, and that ‘the word Scoria originally comes from Greek, meaning “Excrement”, but came to be used by the Romans for a kind of volcanic rock’. It’s more than I can manage to avoid making some reference to ‘shit bricks’ here. However, I also discovered that these are precisely the bricks, manufactured in the late nineteenth century, used in the back alleys in the part of York where I live, which, on a personal level, brought an additional dimension to listening back to the track, a sense of connection with a part of the local history I had hitherto been unaware of.

Arriving with a tearing detonation of a chord, ‘into air’ is again simultaneously heavy yet delicate, even light. The experience is perhaps evocative of waves crashing against rocks, and observing rainbows amidst the spray – something rare and special, and so fleeting and impermanent – barely even tangible, and completely without substance – that it hardly seems to exist at all. In a blink, the phenomena has passed, as if evaporated, quite literally ‘into air’.

The third and final piece, ‘white sike’, is both the briefest and the gentlest of the suite, and given the voyage of discovery inspired by ‘scoria bricks’, it’s perhaps most likely in some way connected to White Sike Wood, a forest some way west and a shade north of Harrogate, rather than the White Sike in Dumfries And Galloway. Its picked notes and slow movement is the sonic equivalent of dappled sun – rather than Sunn O))) – through leaves, and over its duration, a tranquillity descends.

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