Review: It seems whenever you look at it we are always waiting for a Beatrice Dillon LP. Over the years she's built a discography around labels like Where To Know?, Boomkat Editions and Hessle Audio, with other intriguing works coming through Kassem Mosse's Ominira, The Trilogy Tapes and most recently, in album form (2016), a collaborative album with Rupert Clervaux for Paralaxe Editions. It somehow makes sense then that PAN are the ones to release the British artist's most singular and definitive work yet, pulling together her penchant for syncopated and disjointed drums to meet and fill the gaps between tensions and releases of sound and dynamic that reference all matter of contemporary and avant garde compositions and production techniques, with Dillon still treading that precarious line between abstract club music, experimental sound art and conceptual sound design.
Review: Luke Younger aka Helm follows his 2017 album Rawabet with this fine album. Collaborating with JG Thirlwell from Foetus and featuring guest cello and saxophone, it is the most rounded Helm album so far. "Capital Crisis" has a sonorous feeling as atmospheric synths emerge from experimental squiggles, while on "I Knew You Would Respond" Younger merges sax squalls with middle eastern nuances. "Body Rushes" is even more impressive, and its layered, immersive textures are up there with Johan Johansson's soundtracks. What's most remarkable about Chemical Flowers however, is the fact that it's an ever-changing, morphing work, typified on the sonic twists and turns of "Lizard In Fear'.