With the release of his third full-length album, Bryan Müller a.k.a. Skee Mask has surely established himself as one of the leading figures at the vanguard of electronic music.
Category: Reviews
John Beltran – The Season Series (2020)
Using deceptively simple elements - piano, guitar, synths and the occasional angelic vocal sample, John Beltran has done a majestic job on The Season Series of channeling the beauty and fragility of nature, as well as capturing its state of constant flux.
Sofia Kourtesis – Fresia Magdalena (2021) – Review
As it traverses that blurred spectrum from house to techno, Fresia Magdalena remains an invitingly warm record, with its vintage crackles and hiss of analogue. But Kourtesis is careful to include just the right amount of crunch and poke to prevent things getting too soft around the edges.
Leon Vynehall – Rare, Forever (2021)
Leon Vynehall is not afraid of exploring weighty topics with his music and in contrast to many electronic artists, revealing much about his own identity in the process. On his latest album ‘Rare, Forever, this includes his own doubts, anxieties and fears, both as an artist and a human being.
Spirit of the Beehive – ENTERTAINMENT, DEATH (2021)
Spirit of the Beehive’s ENTERTAINMENT, DEATH is not psychedelic music in the normal sense of the term, although like most psychedelic music it does make for a disorientating listening experience.
Andy Stott – Never the Right Time (2021)
Andy Stott's music is defined by the ever-present feeling of friction, the rub of needles bouncing into the red zone on a bank of dials. But this is tempered by a languid sensuality.
Gazelle Twin – Deep England (2021)
At times shocking and at others darkly comic, Deep England is a complex and gripping album.
Godspeed You! Black Emperor – G_d’s Pee at STATE’S END! (2021)
There are moments of the kind of sparse and sombre beauty that Godspeed You Black Emperor do so well, balanced by some of the most joyfully rousing music the band have ever released.
Tobacco – Fucked up Friends 3 (2021)
There are certain circles of alternative music in which vintage analogue synths will forever be cool, and where a certain shiny sound that briefly pervaded pop music is perpetually recreated, celebrated and fetishised.
Mouse on Mars – AAI (2021)
Despite its patchy nature, AAI is worth listening to, and the questions it poses will need answering sooner rather than later, or the machines will answer them for us.









