Back at the Deep Hole sounds like a group of close friends who speak a secret musical language coming together in a small room to sweat it out over their instruments and commune with the darkness. One can practically see the condensation dripping from the walls during these sessions, the coiling incense smoke and shadows dancing from flickering candles as these loose improvisations reach unexpected heights, a tangible energy and intensity in the room that translates beautifully to the recordings

During a particularly difficult week in the ol' depression and anxiety department, this has been a bit of a miracle for me personally.

When I find myself in this cycle, everything can feel so overwhelming, as if I am entirely made up of nerve endings. This album is proving to be the perfect sweet spot of not too much but just enough, exactly what my mind needs right now. A warm and thickly layered cocoon of sound for me to find some comfort in. A reminder to breathe and to rest.

Genuine insanity. I will write more about this at some point when I have managed to think of more to say than "holy shit...wait what?!....are you kidding me?!!", but for now I just want to say that this is the kind of thing that keeps me going between Autechre releases. Masterful stuff right here for lovers of truly unpredictable rhythmic fuckery.

As the world gets progressively more insane/absurd, I feel like it is important that we have art that can match and reflect the bonkers what the fuck-ness of it all, and boy does this one deliver.

Thank you once again to EVEL for consistently putting out the kind of sounds that somehow make more sense to my overestimulated brain than just about anything else these days.

I am so completely obsessed with Field Designers music right now, I can barely even believe it is real. This album brings me back to the feeling of being a kid, falling in and out of consciousness on the couch of my parents home while watching my favourite VHS tapes for the hundredth time, feeling safe and held and like the room I am in and the staticky world inside the screen are one and the same, both stretching to infinity.

Another beautiful split from these two. gab_i’s side is a rich textural wash that is both spacious and quivering with life, a lush rainforest on a distant planet bathed in the glow of an unfamiliar moon and filled with the mechanical chirps of alien wildlife, while GATELESS’ offers something colder, weightier, and almost daunting in its intensity, all glowing low ends and snapping drums - as if the gravity itself has been turned up and all heat has been diverted towards a fiery molten core.

Derek's latest work as deyusunn takes on the sort non narrative quality of a dream, of skipping between various settings and situations without any indication how you got there, and yet no desire to dwell on it. This is a work that reminds us to leave behind our habitual need for permanence and explanation, to simply take in the sights and the sounds of the now and embrace the mystery and absurdity of each moment before it passes into the next.

Some of the most beautiful sounds i have ever come across, I am lost for words which is something that rarely happens. A sea of saturated, submerged tape bliss.

Music that makes you long for a moment you can't be sure you actually lived or just dreamed about. The impenetrable haze of memory and time somehow captured and bottled.