Articles
Backtracking Andy Vaz
Spotlight 2

Albums
Aardvarck
Anonymeye
Balam Acab
Balmorhea
Blue Sausage Infant
Steve Brand
Harold Budd
Causa Sui
Cosmin TRG
cv313
Dalot
Ricardo Donoso
Paul Eg
Fjordne
Roman Flügel
Emmanuelle Gibello
Greie Gut Fraktion
Gurun Gurun
Chihei Hatakeyama
Saito Koji
Tobias Lilja
Martin & Wright
Jasmina Maschina
Mobthrow
Nickolas Mohanna
Muskox
Namo
offthesky
The OO-Ray
A Produce & Loren Nerell
Jody Redhage
The Mark Segger Sextet
Static
Sub Loam
The Teknoist
To Destroy A City
Damian Valles
Andy Vaz
Yard

Compilations / Mixes
Audible Approaches
Dave Clarke
Dixon
Marcel Fengler
Jamie Jones
Kompakt Total 12
Damian Lazarus
Soma Records—20 Years
Stilnovo Sessions Vol. 1

EPs
A Wake A Week
James Blackshaw
c.db.sn + Scaffolding
Dagshenma
Isan
Namo
Fabio Orsi
Pleq & Anna Rose Carter
Pleq & Lauki
Pascal Savy
Dirk Serries
Jeffrey Wentworth Stevens
David Tagg
Mano Le Tough
Simon Whetham

Dirk Serries: Microphonics XIX
Tonefloat

Recorded live at Mex/Kunstlerhaus in Dortmund on December 11, 2011, Dirk Serries' Microphonics XIX offers twenty-four minutes of immersive and meditative dronescaping. The single-sided vinyl release (issued in issued in three, 100-copy editions of golden, white, and silver) is the fourth and and penultimate outing in a series of live releases documenting the period between his 2008 Microphonics debut and a follow-up slated for 2012-13. Serries, also known for his output under the vidnaObmana and Fear Falls Burning aliases, uses a 1976 Les Paul Custom guitar, Fender Hot Rod Deluxe 112 tube amplifier, and effects to generate the intimate setting captured on the new release. Emerging quietly and patiently, the material comes into being as a slow-burning drone of wavering tones before settling into a gentle ambient episode of peaceful splendour. Serries' electric guitar is clearly present, yes, but its delicate side is showcased—at least until its more forthright twang enters to enliven the piece with tremolo shadings and figures. But even when organ-like tones and strums fill in the picture with additional detail and texture, the drifting material never loses its becalmed character nor alters its slow and steady pace. As he's demonstrated before, Serries is here fully committed to sculpting atmosphere as opposed to grandstanding. Though the Microphonics project in general opts for understatement and restraint, this latest chapter is an especially quiet one that's tailor-made for the early morning hours.

October 2011