Arnold Dreyblatt — Descendants: Music for Four Pipe Organs in One Space

Descendants: Music for Four Pipe Organs in One Space serves up a single fifty-minute piece based around gradually shifting resonances. It wonderfully moves from the bright & rising to the shrill & lightly searing, though to more droningly pressing, at points, angularly unbalancing fare.

Tom Mes — Frightfest Guide: Japanese Horror Movies( Book)

In recent years, interest in Japanese horror cinema has grown in leaps and bounds, not just in the late-90s ghost sub-genre of J-horror, with notable titles such as Ringu and The Grudge. Here is a wonderful, colourful and highly informed book that examines the whole of the Japanese horror genre from the late 1930s to the present day. It’s penned by Tom Mes, one of the key writers and experts on Japanese cult film in general.

Alive With Static

Olion Interview

Active since the early 2020’s, Olion is one of the key projects within the euro wall-noise scene. To date, it’s put out around seventy releases- taking in both physical and digital form- with stand-alone releases, splits, and collaborations. Sound-wise, their output moves between pummelling, thick-yet oddly soothing. To more texturally layered, and forays into ANW. Behind the project is Olek Browiński from Olsztyn in northern Poland, and he kindly agreed to give us an email interview

Won’t You Ragnarok with Me?

A Julian Cope Primmer

Erupting into the mainstream on February 19th 1981, The Teardrop Explodes’ debut ‘Top of the Pops’ television performance featuring their brassy, bouncy hit ‘Reward’ is to this day probably the moment from which most people recall Julian Cope. If your image of Julian remains that of an earnest young budding pop star sporting a fleece-collared flying jacket and a shaggy bowlcut of shoulder-length tresses, if you failed to maintain pace with his entry into the cosmos, if you dismissively describe him (as I’ve seen thereabouts) as “a Smash Hits pin-up”, you have one hell of a lot of catching up to do. Musique Machine have tasked me with leading their readers through the psychedelic jungle and beyond, here, and I have to say that Julian probably merits the ‘beginners’ guide to’ / ‘recommended records’ treatment more than just about any other artist in the music sphere, at least in terms of how public perception and the ‘reality’ (if such a word is appropriate in this extreme case) have a near-unbridgeable gulf.