If you are a loyal CHAIN D.L.K. reader, you should know that most of the people who collaborate with us are also musicians and Adern X is one of them who'll have one of his releases out soon. "Ink spots called words" is a collection of tracks released between 2007 and 2012 that were used on the net or used in festivals. Available from the17nth of July on CD-r on a limited run of 50 copies and also on digital, the release contains ten tracks that are based on multi layered sound sources which are looped, manipulated or generated. Adern X is good at creating electronic sounds that change shape and atmosphere and this is a must if you want to catch people's attention. His tracks pass from the effected field recordings (the station of "Drowned Travel") to the electronic distorted manipulation of classical music (like on the opening "8.VII") passing through concrete music intuitions. I must admit that it's a lot of time that I'm not into experimental music, but I enjoyed this album as Adern X is able to create atmospheres that are in balance from the everyday life and a sort of alienated reality and he does it using a rich palette of sounds.

White Hex is a duo coming from Australia formed by Jimi Kritzler (member of Slug Guts, band that released their second album"Howlin' Gang" on Sacred Bones the last year) and Tara Green. "Heat" is their first MLP and it has just been released by Avant! on vinyl and digital. Their music a particular mix of 60's twanging guitars, obsessive bass lines, drum machine and cold female vocals. Taking inspirations from bands such like Gun Club and The Birthday Party, White Hex take those hot sounds and brought them to a colder place. The guitar is the main instrument and Jimi plays it passing from an arpeggio to a riff just to turn back to echoed picked notes. The counterpart to the presence of all this guitar work is the detached Tara's vocals and I must say that the mix works just fine. If at first you get a little while to get acquainted, after a while you have the feeling to be at a Lidya Lunch's party where she invited some goth friends and they are enjoining their evening by playing something together. The six tracks of the MLP will help you chill a bit your got summer... and you know you need it! Check here the opening tune "Stranger Love": http://soundcloud.com/avant/white-hex-stranger-love

Assembled during the severe winter between 2010 and 2011, the coldest one Londoners experienced in the last years, this fascinating release by London-based musician Antony Harrison cannot but start by the association with Swedish little town Kiruna, the northernmost one of Sweden, located approximately one hundred miles north of the Arctic circle just like the paradigm and the somewhat illusory vision of the relentless and perpetual movement of a huge metropolis had been vanished by a dramatic fall of the columns of mercury, so that during the listening of this 6-track album, you could have the impression Antony "sonically" translated this sudden and seemingly unnatural (at least for those one who normally raves about concepts such as velocity and acceleration applied to urban conglomerate by prefiguring them as robotic anthills...) slowing down till the final paralysis. If you embrace a similar approach, Antony's slowed post-industrial sonic dynamics, its frozen thuds and its glacial semblance become a kind of musicalization of a parody, hatched by sardonic Mother Nature, whose cycles and processes manage to challenge human will of order, progress and domain as well as the confirmation of descriptive sonic skills of this musician, who shared the stage with renowned artists such as Library Tapes, Boduf Songs, Machinefabiek, Simon Scott, Ian Hagwood, Jasper TX and many other talented sound potters.

I given myself the opportunity to listen to this one over several times already and its a little more exquisite with each experience. I'm referring to 'Through Glass' by Attilio Novellino. In this release he crafts amazingly epic scapes of sonic wonder based, at the core, on the concept of light filtering though glass, and how that concept would translate into sound. He chooses sounds and textures and tones to get this across to the listener with flawless precision. The concept shines through like (forgive me) light through glass. Not only does the overall tone and feel of the record fit perfectly with the title, so do the songs with their titles. Pieces like 'A Footpath for Night Dancers,' 'Snapshot of a Loss,' and 'Yosemite's Night Sky' couldn't have been more fitting. Attilio evolves through many different forms herein; from harsher drones, dense textures, tense pads and razor-like tones, to washing, airy, lush atmospheres. It's an all encompassing sonic journey guided by an absolutely poetic mastery of his craft; Attilio Novellino has given a very special gift to the world with 'Through Glass,' one that you'd be sorry to miss.

Coming from an interesting experiment by Grautag label manager Nicolas Moulin, a French artist and photographer, who actually lives in Berlin where he's trying to develop the idea of a "self-generating" label together with other artistic projects as well as overturn some conventional schemes of music production, Azurazia is a very interesting project, based on a sort of back-propagation process: "Lowering the Mediterranean, Irrigating the Sahara" - the title supposedly has been inspired by Atlantropa, the idea of German architect Herman Sorgel, whom Nazis banned, about the building of a dam on Straits of Gibraltar in order to produce hydro-electric power from the different sea level of the Mediterranean sea and Atlantic Ocean to irrigate dry areas and avoid further desertification of many surrounding lands - should be the soundtrack for a movie, which has not been made yet, a curious way to break the usual progression based on the issue of a book, feeding the plot for a movie, followed by the issue of its OST. Each of four long track has been partitioned in various episodes, whose title recalls the typical partition of a play script or the paragraphs of a book, so that listeners' imagination could be driven in the funny process of self-building of a possible plot, whose setting should be the place where the involved sound artists, Vincent Epplay, Pharoah Chromium, and Arnaud Maguet, grabbed most of the samples and field recordings to feed their sound banks, Morocco. Even if music includes many hooks and references to Moroccan traditional music, ritual dances and field recordings, it's quite different from projects which enclosed those sonorities such as Raksha Mancham, Amira Saqati, Master Musicians of Joujouka or other artists of Barraka El Farnatshi's roster due to its cinematic structure and the continuous contamination of drones, ambient and electronic sounds, which act as an adhesive of different sonic sketches, which pass through listeners's mind in a riveting way, just like the scenes of the supposedly forthcoming movie.