The new issue of Ed Pinsent’s wonderful music magazine The Sound Projector is out now. This is a special all-vinyl issue containing nothing but reviews of vinyl LPs and singles, along with many sumptuous photographs of album sleeves, coloured vinyl discs, labels and inserts. 128 exciting pages – and for the first time, the magazine is available in two versions, full colour and b&w!
I’ve contributed reviews and photos of the following albums to the magazine:
Richard Youngs – Inceptor, Atlas of Hearts
Primordial Undermind – Last Worldly Bond
Mats Gustafsson – Mats G Plays Albert A, Needs
Full Blast and Friends – Crumbling Brain
Okkervil River – I Am Very Far
Peterlicker – Nicht
The Thing – Bag It!
Zu – Carboniferous
Fire! – You Liked Me Five Minutes Ago, Unreleased?
You can read full details, including how to buy, here.
The 2011 issue of The Sound Projector magazine is now available. 190 pages of record and CD reviews, interviews and even a free cover-mount CD. This time round I’ve contributed reviews of recent albums by Unfolk/Kevin Hewick, Chris Connelly, Nicola Ratti, Cardinal, Olivier Girouard, Rational Academy, St. Just Vigilantes, Viviane Houle and Roshi feat. Pars Radio.
You can read all about it here. And you can buy it here or, if you prefer the edition without the free CD, here.
In 1999 or thereabouts, Ed Pinsent and I interviewed Peter Rehberg at his home in Vienna. (The resulting article appeared in The Sound Projector 8, long sold out but downloadable from the SP website.) Back in those days, Rehberg and the like-minded souls whose music he released on the label he co-founded, Mego (Fennesz, Farmers Manual, etc) were seen by some as the vanguard of a new revolution in electronic music, eschewing the analogue synthesiser in favour of using digital music software to create and manipulate sounds which they recorded straight to hard disc. Their ‘instrument’ of choice was the Apple Macintosh, which had already revolutionised the ease of use of the personal computer. Since the mid-90s, a clutch of Vienna-based artists had been making a global impression, with the scene initially coalescing around the clubby, downtempo vibes of Kruder & Dorfmeister, Patrick Pulsinger and Erdem Tunakan. As the 90s wore on, the Mego crew emerged with a harder-edged, glitchy sound that could be heard on a regular basis at the Rhiz bar, Vienna’s new temple to electronic music.
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