Maguire/La Berge – three cities
Touching Extremes:
The atmosphere turns from relatively ethereal to discreetly ominous; think Eliane Radigue and Thomas Lehn perking up the ears to uncanny murmurs in a pre-earthquake setting.

We Need No Swords:
Most fun is ‘Yoker’, whose squishy blurts and ferric groans blow raspberries at ideas that ‘quiet’ music should be all about politeness. La Berge’s flute becomes a vessel for dense, metallic outbursts, while Maguire’s electronics twitch and spit with grumpy fervour. Taciturn zingers, every one.

Bruno Duplant – souvenances
This is music to be listened to without distractions, so subtle that environmental sounds will bleed into its sonic field.  Perfect for headphones, it experiments with spatial effects and succeeds in creating a very three dimensional sound world.

We Need No Swords:
In ‘Seconde’, interlocking cog and wheel whirrs are punctuated by fan belt squeaks in mesmerising, hyperactive clockwork motion, the sounds chasing each other in giddy spirals. I’d be happy if it went on forever, but after half an hour Duplant hits the fader and the whole palaver dissolves, gyrating frantically as it disperses into nothingness.

Chris H Lynn – Configurations with clouds and sea air
Once there is a break in the storm the minimalist aesthetic is at its most musique concrète stage of restrained experimentation, it’s as though you are left with bare breath, an open mic, just residual sound. The astriction is palpable yet lax and remotely peaceful. If this were a painting it would be some shade of white with the most impossible texture, just vaguely upon the surface, one of those you look into and not simply at. Keep the volume up, or your headphones upon your ears as you go through this.
Configurations with Clouds and Sea Air by Chris H. Lynn

We Need No Swords:
The crash of waves in the distance combines with the gritty scrunch of sand and stone in a proper Proustian jag, for me anyways. Nostalgia is the enemy of rigour, however, so rather than giving us ice creams and funfairs we get a rather enigmatic soundtrack of mooch and rustle, Lynn’s small sounds magnified into enigmatic and eerie gestures.

Ben Zucker – o ur gab
…the breath has a subdued, restricted role on o ur gab – applied lightly enough to stimulate sound, yet still insufficient to puncture Zucker’s bubble of privacy. On “neither/n/nor/n”, he plays delicately with the shape of each exhalation, co-ordinating throat and teeth to force it through different channels like playdough-maker shapes, dragging consonants into ribbons of mouthly muscle tension, extending f’s and sh’s and r’s into hisses that crackle with interruptive moisture.

Phil Maguire – aural documents #1: recordings of damaged audio equipment
The record moves back and forth between these “ampere” and “volt” pieces, and the transition between the two is always sudden and disruptive. Streams of noise are abruptly sealed shut. Intermittent drips burst open into continuous gushes. Shape loses and regains relevance…Vivid and irrefutable.