Llums de Tunguska is a fantastic experimental music radio program from Radio Ateneu del Clot (Barcelona). A random google search for something else revealed that Hydromancy (released in 2019 by the Audiotalaia netlabel) was featured in episode 160 of this amazing show, alongside some local legends, what an honor!

You can listen to the whole show below, my tracks (yes! two tracks!) show up in minute 47, but the whole thing is worth a listen 🙂

Llums de Tunguska, ep. 160:

Thanks Isabel & Joan for the air time!

It was an honour to be asked by Audio Obscura to provide a remix for one of his tracks in this Self Isolation Tapes project, where he tried to make sense of the Covid-19 lockdown between March and April 2020 in the UK.

I was fortunate to meet Neil in Norwich back in 2018, when we both performed at a Naviar Haiku Fest, we exchanged tapes and had a good chat, keeping more or less in touch after that.

I got asked to remix the track named “One day I’ll grow nostalgic for these days”, which is an equal parts beautiful as well as ominous exercise on sampladelia, turntablism and radio art. My remix picked up some hidden sounds in the track stems and turned them into protagonists, while keeping the radio art flair of the original work. This was my first remix ever, and what a great experience it was!

You can stream and purchase whole album here: Self Isolation Tapes.

And this is my track:

Hope you like it! And if you do, support Audio Obscura!

Albeit with some inaccuracies, Base was reviewed ages ago (almost missed it) by Cassette Gods, in a short and sweet review note, topped with this:

“This is what noise music is when it works. They have done a remarkable job portraying this imaginary disaster.”

Read the full review here.

The Naviar Haiku project stays strong, 6 years strong in fact. I haven’t been involved a lot in the recent years, but it’s been enough to get a track featured in the 6th anniversary compilation that celebrates the project.

You can stream and purchase the compilation here: 6 years of Naviar Haiku, and here’s my track:

Congratulations to Naviar Records for a fantastic run, here’s to 6 more!

I almost missed this, but apparently, more than a year ago, the almighty Vital Weekly web magazine reviewed in one shot all my tape releases of 2018 (A Deafening Silence, Base and Vespertine Works).

The reviews of the work are okay, as in the music didn’t blow their hats off, but they seemed to like it, although there is a repeating theme about it not being particularly “new”, which is fair enough, especially for a site that regularly reviews works of forward-thinking artists and bands that I worship, like Machinefabriek and others.

Of all three albums, the best words are for Base, getting some praise for its deliberated and strategic approach to noise:

Not your usual harsh noise walls, but a rather interesting free play of distorted sounds, guitars and electronics alike, with freeform percussion. […] This is quite removed from the other two releases, which seem more considerate and controlled, whereas this one is chaotic and wild. Here is some noise that is familiar and fine, with that rough edge we all love some much. It is not the work of madmen going wild and wilder, but something done with some care and consideration. That’s how we love them best.

Happy to have my music been considered by “the oldest source for music reviews”. Read the whole triple-review here, at the bottom of this issue: http://www.vitalweekly.net/1148.html