Review: Italian composer turned analogue electronics wizard Caterina Barbieri has always been able to create mesmerizing, otherworldly music with only a small array of instruments. Born Again In The Voltage, her latest full-length excursion, was recorded between 2014 and 2015 using a Buchla 200 synthesizer, a cello and her own voice. Naturally, the results are astonishing. Check, for example, 12-minute album opener, "Human Developers", where discordant, mournful and post apocalyptic cello motifs are slowly enveloped by trademark Buchla synth sounds. In contrast, the beautiful "Rendering Intuitions" puts subtly shifting cello parts at the centre of a heady ambient soup, while triumphant closer "We Access Only A Fraction" sounds like restless, metronomic proto-techno smothered in trippy vocalizations.
Review: There's always been something rather special about King Britt's ability to effortlessly switch musical focus between projects and aliases. Contrast, for example, the retro-soul giddiness of Sylk 130, the electronic polyrhythms and heavy bruk of Oba Funke, and the trippy electronic darkness of his work under the baffling Fhloston Paradigm pseudonym. This debut album under that alias - on the back of a handful of singles a few years back - is predictably magical, mixing spaced-out textures and stargazing synths with off-kilter rhythms, loose jazz beats and Detroit-inspired grooves. Dark and atmospheric, with a touch of the Jeff Mills about it (certainly conceptually, if not aesthetically), The Phoenix makes for mesmerizing listening from start to finish.