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It’s riddled with so much nuance that many months on we’re still discovering hidden new crevices with every listen.

If you’ve yet to hear it - what are you waiting for?

Hand In Hand elevates her work to a completely higher plain as far as we are concerned though; fusing field recordings, modular and MIDI electronics with an almost hypnotising line in whispered/ASMR vocal narration to subliminally affective degrees, lulling us into an alien - yet incredibly human - soundsphere.

It’s rare to hear a singular artistic vision translated into a sound that is so inherently personal and inviting - but somehow Hand In Hand is both one of the most accessible, and most experimental albums we encountered in 2017.

It’s been some years since Sakamoto has placed his name at the top of a solo album proper - as opposed to his swathes of collaborations and film scores - and we can promise that the results herein are definitely worth the wait.

Imagined and realised after a period of fright with his health, Async captures Mr.

On her captivating 4th solo album, Montreal’s Sarah Davachi - highly regarded for her majestic, coruscating synth compositions - divides her attentions equally between a purely instrumental palette of strings, piano, voice and organ with an enveloping, often ecstatic and mystic effect recalling Áine O’Dwyer’s recent Locusts wonder as much as Ellen Fullman’s works for long stringed instruments. Rather than mining ancient synth hardware for its unique tones, in All My Circles Run, Davachi applies the same exploratory approach to acoustic instruments with glacially tense results that quietly light up the liminal borderland between the spheres of electronic and acoustic practice when contrasted with her previous recordings.

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As with Erik Weigand aka Errorsmith’s strongest club productions such as the legendary Donna [1997] as part of MMM with Fiedel, thru to Protogravity [2015] with Mark Fell, the dancefloor is squarely in focus on Superlative Fatigue.Uncompromisingly distinct while redolent of modal minimalism, 70s, new age, and folk music, it effectively blurs distinctions between traditional composition and more open, overlapping genres that hover in the half-light between acoustic and electronic refinement.Rather than anything grandiose or explicitly seductive, the effect of Grafts is best compared with the subtle intoxication of micro-dosing on LSD or the clarity afforded by quiet meditation, in a sense dilating the listener’s focus to a heightened awareness of the piece’s intricate peripheral tones as much as its melodic centre ground, with a beautifully understated, surreal resolution.It would have been dishonest to pick anything else for our choice for record of the year 2017 - ‘Grafts' has more or less been on constant rotation here since the very start of the year and has dug its claws deep into our psyche in the months since.A blissfully introspective 22 minute piece for keys, samplers and EQs in three parts; it’s instantly easy on the ear - rarely a mark of longevity - but it continues to resonate and transfix regardless of how intimately you become acquainted with its uncanny, cunning manoeuvres.

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