Another recent release from the Entr’acte label that’s been intriguing me lately is Gutter Synthesis by British electronic experimentalist Tom Mudd. The six tracks on the album are divided between three Gutter Synthesis pieces and three Gutter Organ pieces, all of which were created using Mudd’s own software, created specifically for this project.
The Gutter Synthesis tracks are, in general, more austere and meandering. The first features an interesting interplay between a low drone and varying quantities of shifting surface jitter and squeal, highly metallic in character and punctuated by occasional sonic punches. The second, more engagingly, presents a seemingly self-contained computer process, as though the machine were turning over ideas, examining them and juxtaposing them, in the process forming a vague notion of pulse. Metallic timbres are the focus here too, made more challenging due to the piercing intensity they develop later on. In Gutter Synthesis 3 we hear an apparently arbitrary procession of sound objects, some low and gritty, others high and pure. In some respects this track is a paradigm of the album as a whole, inasmuch that it benefits considerably from repeated listenings, the process of which diminishes the pervading austerity and brings clarity (or, at least, familiarity, which can be the same thing) to the strange narrative in this and all the other tracks, such that they become increasingly compelling. Read more
One of the more unusual items to have arrived at my door recently is Double Landscape, by Dutch “visual artist with a preference for sound” Jeroen Diepenmaat. It’s unusual insofar as it comes in the form of a small plastic wallet containing a small business card CDr – which contains just a single track, lasting just a few minutes – together with a fold-out inlay card with drawings of cassette-like images and a download code. It would have been a lot of work to go to for just a few minutes of music, and indeed the download reveals the actual entirety of the album: 84 tracks (the CDr containing just one of them) lasting a little over five hours. That’s a lot of music, but it doesn’t take long to realise that there’s a theme at play here, one that draws connections with both the Roland Kayn box set 
i was fortunate to catch four-fifths of last week’s Electric Spring festival, Huddersfield University’s annual exploration and celebration of things electronically musical. As usual, attention was focused on a daily evening concert, featuring a substantial programme preceded by one or more relatively brief opening acts. The festival’s emphasis on electronic music felt conspicuously different this year; the connection seemed pretty tenuous in Thursday’s concert showcasing three films (admittedly all including electronically-created or -processed music to some extent, and the event was a tie-in for the university’s Sound and Music in Documentary Film symposium, which was taking place at the same time), as well as drummer Dave Smith’s Saturday gig, which employed little in the way of electronics beyond a few loops, some reverb and a modicum of pitch-shifting. i mention this more as an observation than a complaint: the concerts were no less enjoyable for their relatively minor use of electronics, but it’s fair to say that these two events, in retrospect, seemed more like vanity projects for the particular members of staff who organised them than deeply meaningful contributions to Electric Spring’s general ethos. Or maybe Electric Spring is going somewhere else in future; i guess we’ll see. 
There’s a time to get excited about music, and there’s a time to leap around with irresistible, exuberant elation. 2017 is less than two weeks old, and already I have no doubt whatsoever that I’ve heard what will prove to be one of its very best albums. Looking back over the last decade, one of its most epic recurring zeniths—running through it like a range of mountains towering over almost everything else—has been the output from two sibling projects of Dutch musician Jason Köhnen: The Kilimanjaro Darkjazz Ensemble and The Mount Fuji Doomjazz Corporation. They’ve appeared on 5:4 on numerous occasions—TMFDC’s 
