Nine years have passed since Richard Fearless released a Death In Vegas album. That’s an awful lot of life – and a good deal of it has been packed into the nine tracks making up Death Mask.
For it is an autobiographical album, with explicit references to his nearest and dearest, yet all the while staying true to its musical function, ranging from drones to danceable beats. Fearless was keen to leave his output unpolished, a refreshing approach for an electronic music producer – so that means ‘dirty circuitry and rough-hewn textures at the fore’. These are helped by the inclusion of natural feedback and white noise from his Thameside Metal Box studio, a musical instrument every bit as important as the keyboards and electronics that output the music.
What’s the music like?
Very dark…and yet, ultimately, empowering.
As its title implies, Death Mask isn’t an album to shy away from thoughts about the end of life – but nor is it going to sit there and mope. For when Fearless drops some of the massive beats here there is a barely restrained euphoria that kicks in, a feeling that we’re dancing for our very existence.
That certainly happens on the epic Roseville, which goes for broke, but also on the warmer Your Love. Hazel is a multilayered track, a whirlwind rhythm section contrasted by a fuzzy drone, an uncannily effective portrayal of the emotions at play in the funeral of a close friend – in this case, Richard’s own father.
The studio makes its presence felt in the remarkable While My Machines Gently Weep, the rhythm section positively primal and the distortion turned up to the max.
Influences on Fearless’s work here range far and wide, with healthy nods to dub and techno. He credits Ramleh, Terrence Dixon, Jamal Moss, Mika Vanio and TM 404 explicitly as inspirations – though a name not mentioned but surely in his mind is that of Andrew Weatherall.
Does it all work?
It does – though Death Mask is certainly not for every mood. It’s a heavy-set album at times, but for every bit of darkness there are shards of dazzling light.
Is it recommended?
It certainly is. Richard Fearless has taken Death In Vegas on quite the journey since it began in the mid-90s, but this is arguably the album that has the greatest substance. Power and grace, rolled into one.
For fans of… Andrew Weatherall, Trentemøller, Luke Slater, Black Dog, Cabaret Voltaire
TAKKUUK is a new immersive installation from BICEP, visual artist Zak Norman and filmmaker Charlie Miller that explores the lives, communities and challenges facing artists Indigenous to the Arctic Region. TAKKUUK will feature on the giant floor to ceiling wrap around screens at Outernet London, one of the UKs most visited cultural attractions.
Created in partnership with the charity In Place of War, as part of their EarthSonic programme, the installation sees the renowned Northern Irish electronic duo — otherwise known as Andy Ferguson and Matthew McBriar — collaborating with a number of Indigenous vocalists, including Katarina Barruk, Andachan, Sebastian Enequist (from Sound of the Damned), Tarrak, Nuija, Niilas and Silla. The music was recorded in 2024 by Detroit-based producer and musician Matthew Dear in Árni Árnason from The Vaccines studio, during Iceland Airwaves festival in Reykjavík.
The resulting demos, combined with additional field recordings taken by Ferguson from the Russell Glacier in Greenland, form the backbone of this unique soundtrack set to accompany the remarkable TAKKUUK visual installation which premiers on July 3rd at Outernet London, before touring venues and festivals across the globe over the coming year.
The initial spark for the project came when BICEP travelled to Greenland in 2023, in which they began learning about the various issues facing local artists and their communities. It then came to life over the following two years, growing to eventually incorporate a striking visual element shot by Zak Norman (who has previously worked on visuals for BICEP, Squarepusher and Africa Express) and Bristol-based filmmaker Charlie Miller (whose documentary work with In Place of War has taken him to some of the world’s most marginalised and remote communities.)
Across its immersive presentation, TAKKUUK sees Norman and Miller introduce each of the Indigenous musicians and their communities. In scenes from Greenland, Sweden, Norway and Canada, attendees will witness the impact of their changing worlds, giving us an insight into their everyday lives and exploring not just the direct environmental consequences of a changing climate, but also the displacement of people and the marginalisation of their communities — resulting in the erosion of ancient cultures, languages, traditions and more.
Through highlighting these individual stories, the project hopes to raise awareness of the existential issues facing Indigenous people across the Arctic region. TAKKUUK reflects In Place of War and EarthSonic’s mission to use music to tell the stories associated with climate change, amplifying the voices of Indigenous artists on its frontlines. Through their music, words, and lived realities, this project shines a light on the deep connection these Indigenous communities have with their environment, while revealing the challenges they face as their lands, languages, and traditions come under threat.
“Takkuuk (pronounced tuck-kook) is the Inuktitut word which translates to literally ‘look’ but has the connotation that you’re urging someone to look at something closely. The Arctic climate is changing rapidly, so in context of the larger project, it’s a ‘hey look at this, the adverse effects of climate change are obvious,’ but also, ‘hey look at how cool Inuit culture is’.” – Charlotte Qamaniq (AKA Silla)
“This is a global story, and we all have a role to play. Join the movement by pledging to one or more of our six climate actions, and become an EarthSonic Champion. Together, we can make meaningful steps towards a more climate-conscious future.” – Ruth Daniel, CEO In Place of War/EarthSonic. Read more at earthsonic.org/6-acts
“Creativity and music are both powerful forces that can shine a light on global issues that need to be addressed. As a trustee of In Place of War the Earthsonic project with Bicep and artists Indigenous to the Arctic Region was something we really wanted to support. The work that has been created will be showcased across the Outernet screens and I know it is going to have a real impact and look and sound beautiful.” Philip O’Ferrall CEO Outernet
LONDON – OUTERNET – 03/07/2025 GHENT, BELGIUM – Wintercircus – 01-07/09/2025 MILAN, ITALY – Act in Synch Summit at Linecheck – 17-22/11/2025 TBC OULU, FINLAND – Deep Space at Museum & Science Center – 02/2026 NUUK, GREENLAND – NUUK Snow Festival – February 2026 UMMANNAQ, GREENLAND – Iceberg Projection – February 2026 SISIMIUT, GREENLAND – Arctic Sounds – 04/05/2026 BELFAST, NI – Ulster Museum – May – July 2026 TBC LINZ, AUSTRIA – Ars Electronica – Dates TBC LONDON, U.K. – Frameless – Dates TBC BERLIN, GERMANY – Quantum Gallery – TBC BARCELONA, SPAIN – Mira Festival – TBC DUBAI, UAE – IMS – TBC SÃO PAULO, BRAZIL – CCBB Gallery – TBC BELFAST, N.I – AVA Festival – TBC GIJÓN, SPAIN – LEV Festival – TBC
In the weird world of Wevie Stonder, things are never straightforward. The five-piece collective headed up by Al Boorman have returned with their first album in 15 years – and one reason it took so long is that they couldn’t think of a title.
The group are renowned for their outlandish electronics and humorous vocal performances, with a series of treasured records on Manchester’s eminent Skam Records, and their latest album Sure Beats Living ventures into unknown realms. Introducing a host of new characters, tall tales and bizarre scenarios to a musical backdrop as varied as it is striking, the record darts between ambient tranquillity, strange soundtracks, bass-heavy beats and emotive R&B.
Opener That’s Magic features a magician talking us through a convoluted magic trick, to a mysterious synth theme that a celebrity conjurer might use to help the pyramids disappear. It’s probably one of the only pieces of music to draw influences from Paul Daniels.
Carpet Squares is a hefty slab of squirming machine bass, acid squidges and clanking industrial drums, its samples extolling the virtues of fitting comfortable flooring, with a voiceover recorded on a Canadian golf course.
Vanja & Slavcho tells the odd story of twins who have an extraordinary ability to a bustle of spiralling arpeggios and comedic sound effects, while Tiktaalik has a glam rock beat, guitar twangs, wild synth runs and dance music drum rolls that build to nowhere, plus processed dolphin noises and a vocal about evolution. Then there’s Piccolo’s Travels, a spellbinding mix of classical strings and…is that a malfunctioning Clanger?
Album Titles lists rejected names for the record to hilarious effect, with outlandish blips, accordion riffs and bubbling percussion setting the scene, The 38th Parallel is a wonky slab of electronica, while Push It has everything from rock guitar interjections to explosions and birdsong.
If Customer Services imagines the bewildering experience of dealing with a sentient automated phone call, then the following Nothing To Write Home About is a waltz-time organ piece with a nostalgic, bittersweet air. Ready? lists practically every genre under the sun and gives you a burst of it, from drill to country & western, hardcore to Miami bass, and the final track, The Void, is an Autotune-laced R&B track with a deep, emotional core.
That’s the genius of Wevie Stonder: their ability to make you laugh one minute, and the next transport you to an atmospheric reverie.
Wevie Stonder are Al Boorman, Chris Umney, Henry Sargeant, Nadir Al-Badri and Rich Sothcott. Although now all based in different countries, the seeds of the group were sown in a quiet Suffolk village when at the age of six, Al and Rich recorded a group of chickens down a telephone and played it back while hitting a three-stringed guitar & a biscuit tin.
“Congratulations, listener. You are about to step into an alternate electronic universe.”
So runs the press release to the German producer and synth lover Italo Brutalo‘s second album, setting out his stall for entertainment.
Vintage analogue instruments are the order of the day, for Brutalo – real name Vincent Fries – has amassed quite the collection, putting them to use on a new instrumental album.
What’s the music like?
A lot of fun. Brutalo’s music is packed with incident and riffs, sometimes sounding like a soundtrack to a retro film, and always delivering on the entertainment.
On occasion the pastiche elements bring reminders of past groups, as in the way Memory Sync draws from Blancmange’s Living On The Ceiling, but this all happens in a really good and creative way. Some of Brutalo’s creations are inspired, with Chasing Shadows a brilliant kind of TV / club mash-up, with euphoric block synth chords to lift the spirits. Free To Move has a very funky undercarriage, conjuring good memories of Cybotron, while Human Code is a more serious but equally satisfying driving groove. Not all the tracks are fast, and Brutalo shows he can do an effective slow disco jam in the form of I Am A Creator.
Does it all work?
Yes, providing you don’t mind a bit of retro gazing. This is music that will slot effortlessly into the party.
Is it recommended?
It is. Second Horizon wears its heart on its sleeve, creating a host of feelgood movements that sound great when turned up loud.
For fans of… Todd Terje, Lindstrøm, Blancmange, Daft Punk
A first album from Tim Haze, member of Polish duo Tidy Daps. Haze likes to wear his influences on his sleeve, and to that effect has made an album of deep house with strong dubby flavours.
What’s the music like?
A good deal of planning has gone into this album, with a really satisfying fusion of dub and house. Haze manages the peaks and troughs to perfection, reaching a peak on Four On The Floor, with its rolling bass. Dreams is a really nice slower groove, while Dusit adds a bit of attitude, with a cool riff and slightly scuzzy beat. After a dreamy, hazy sax on First Time, and the fuzzy dub of Hello, Haze pulls a rabbit out of the hat in the form of Argus, a superb slice of deep house.
Does it all work?
It does – and Haze has stitched a really satisfying blend of house and dub to make an album that has just the right rise and fall.
Is it recommended?
Yes. An album that delivers some excellent club grooves but within the context of home listening, too. A fine debut from a producer who has the right blend.
For fans of… Matthew Herbert, David Alvarado, Silicone Soul, Jay Haze
Arcana.fm 