There is a peculiar kind of musical archaeology involved in "Figuren". Raphael Loher does not excavate old recordings merely to preserve their remains, nor does he treat them as convenient material for the usual ambient makeover. He takes performances that already existed, separates them into melodic fragments, isolated tones and resonances, subjects some of them to tape manipulation, changes their pitch and then rebuilds the results into something that no longer behaves like its source. The past is not remembered here. It is repeatedly disassembled until it starts behaving differently.

This is particularly significant because Loher is a pianist. His previous work has often begun with the physical presence of the instrument, whether through preparation, altered tuning, pedals or unusually concentrated playing. His 2022 debut "Keemuun" reduced the piano's enormous possibilities to a remarkably restricted field, while "Hug of Gravity" subsequently took recordings of those performances and stretched their relationships across much longer durations. Loher is also active in the Swiss improvisation scene through Baumschule, with Manuel Troller and Julian Sartorius, and KALI Trio, alongside Urs Müller and Nicolas Stocker. His musical personality therefore makes the apparent retreat from the piano in "Figuren" rather more interesting than a simple change of equipment. He is not abandoning his instrument so much as questioning how much of an instrument needs to remain audible for its musical identity to survive.

The source material consists of ten intimate performances of "Keemuun", recorded during the pandemic for audiences of only one or two people. During a residency in the Blenio Valley, Loher pulled those recordings apart and generated around thirty preliminary pieces from their constituent material. Some of that process informed "Hug of Gravity"; "Figuren" pushes the same family of ideas further, passing selected fragments through a Revox B77 before digitising and reshaping them again. The resulting album is consequently less like a set of compositions than a series of carefully engineered mutations. There is something almost perversely patient about making music this way. Most people edit because they want to finish. Loher edits because apparently finishing was not complicated enough.

"Figuren I" opens with a few hesitant melodic shapes whose edges seem slightly softened by repetition. The notes do not arrive with the authority of piano statements anymore. They have become objects whose previous identity can still be sensed, but not entirely recovered. Their recurrence is important: each return places the same material in a subtly different context, so that memory itself becomes part of the arrangement. A tiny alteration in decay or pitch can make a familiar figure appear less familiar without actually changing its basic outline.

That tension between recognition and estrangement runs through the record. "Figuren II" is more rhythmically articulate, built from small gestures that seem to overlap imperfectly. The music has a pulse, but not one generous enough to qualify as a beat. Instead, rhythmic information emerges from repetition, interruption and slight displacement. It is a wonderfully economical trick. Loher does not need to create a complex rhythm when he can allow two simple patterns to disagree politely.

The pieces remain short enough to resist the grand architectural gestures of "Hug of Gravity". "Figuren III" and "Figuren IV" pass through sparse melodic configurations in which silence and decay are as consequential as the notes themselves. The effect is not empty space but a heightened awareness of what remains after a sound has stopped. Loher's fascination with reduction becomes particularly clear here: he keeps taking information away until the remaining material starts carrying disproportionate weight.

There is also a quiet strangeness to the tape process. A Revox B77 is not merely a nostalgic prop in this context. Its ability to alter speed and therefore pitch introduces a physical instability into material that could otherwise have been manipulated entirely within a computer. That matters because the slight imperfections of analogue treatment give the fragments a history. Even when the final pieces sound extremely clean, there is a sense that the tones have travelled somewhere before arriving in their present form.

"Figuren V" is among the album's more finely balanced constructions, with fragments appearing to orbit one another without settling into a conventional progression. The result is deceptively simple. One hears a small amount of material, but the relationships between its repetitions keep changing. This is where the comparison with Morton Feldman becomes useful, not because Loher imitates Feldman's language, but because both composers understand that duration can make apparently modest events acquire enormous perceptual significance.

The connection with William Basinski is equally tempting, particularly because both artists have discovered how much expressive information can be extracted from repetition and deterioration. Yet Loher's method is more interventionist. He is not simply allowing old material to decay. He actively rearranges it, alters its pitch and changes the scale at which its components operate. The music therefore feels less like a tape loop gradually losing its original shape and more like an image being photocopied, cut apart and reconstructed by someone who keeps becoming interested in a different detail.

"Figuren VI" introduces a darker tension, with a low recurring presence set against more fragmented harmonic material. The simplicity of the components makes their collision unusually effective. There is no need for a dramatic crescendo because the friction is already embedded in the patterns themselves. One begins to hear the record's “figures” not as melodies in the conventional sense but as small behavioural units: they repeat, hesitate, collide, drift apart and occasionally seem to anticipate one another.

"Figuren VII" is perhaps the most delicate of the shorter pieces, while the concluding "Figuren VIII" allows the material more time to accumulate. Its slightly awkward repetitions and unstable harmonic relations give the ending an intriguing ambiguity. It does not provide closure in the conventional sense. Instead, the final piece feels as though the album has arrived at another arrangement of the same unresolved materials. The circle is not completed so much as redrawn with a slightly different radius.

This makes the title "Figuren" particularly apt. The German word can suggest figures, forms, characters or shapes, and Loher's pieces occupy all those meanings without settling on one. A figure can be a melody, a rhythmic cell, a recurring sonic object, or simply a pattern that becomes recognisable through repetition. Here, each one is provisional. Its identity depends upon where it appears and what surrounds it.

The record's greatest strength is therefore not its resemblance to ambient music, minimalism or experimental electronics, although it comfortably touches all three. It is the unusual precision with which Loher manages the threshold between composition and transformation. The original performances are not merely quoted, but neither are they completely erased. Their physical memory survives in altered form. What began as piano playing has become a collection of traces that no longer need the piano to make sense.

That is a surprisingly rich proposition for a record so restrained. "Figuren" does not demand attention through volume, density or dramatic development. It operates by making small discrepancies matter. A repeated note shifts slightly; a loop seems to lose its balance; two fragments briefly occupy the same rhythmic space; a resonance lasts just long enough to change the meaning of the next sound. The listener is gradually trained to notice distinctions that would be almost invisible in a more crowded piece of music.

There is something almost comic about how much technological labour has gone into producing music that can sound so modest. Ten performances, a residency, around thirty preliminary pieces, tape processing, pitch alterations, digitisation, recombination and further editing have ultimately produced eight compact compositions. Humanity has invented computers, tape machines and digital audio workstations, only to use them to make a three-minute fragment wait very patiently before becoming interesting. Fortunately, in Loher's case, the patience pays off.

Figuren is less concerned with making new sounds than with discovering how differently an existing sound can behave once its context has been dismantled. That gives the album an unusually intimate quality. The music feels close to its source material without ever becoming nostalgic for it. What survives is not the performance itself but its potential for another life.

In that sense, Loher's deliberate distance from the piano is not really a departure from his earlier work. It is its logical consequence. Having reduced the instrument, altered it, recorded it and reconsidered it, he now treats its sounds as raw material rather than as evidence of pianistic performance. The instrument has become less visible precisely because Loher has learned how much can be done with what it leaves behind.

Figuren ultimately succeeds through this modest act of refusal: it refuses the piano its traditional authority, refuses repetition its usual predictability, and refuses ambient music the obligation to be merely soothing. Its eight pieces are small, but they are not slight. They behave like fragments of something larger whose original outline may no longer matter. What matters is the strange new coherence they acquire after being taken apart.

"Curves of Splendor" sounds like the sort of title that might come with its own incense, a photograph of a mountain nobody has actually climbed and instructions to breathe deeply while pretending not to think about the electricity bill. Dirk Serries, fortunately, is too experienced a musician to reduce serenity to lifestyle decoration. On "Curves of Splendor", his fifth solo release for Projekt, tranquillity is not presented as an escape hatch but as something constructed patiently, tone by tone, from the unstable physical properties of an electric guitar and a handful of effects.

Serries has spent more than four decades testing what a limited vocabulary can actually contain. Beginning in the experimental underground of the 1980s and developing the celebrated Vidna Obmana project into one of the better-known names in European ambient music, he eventually abandoned that moniker in 2007. His later work under his own name, including the "Streams of Consciousness" series, has increasingly concentrated on the guitar as a source of sustained harmonic movement. Rather than treating the instrument as a vehicle for riffs, solos or conventional melody, Serries uses it almost as a generating surface, allowing tones to overlap, reinforce one another and gradually acquire different emotional weights.

That approach is immediately apparent in "Destination Rewind". The title implies movement backwards, but the music refuses anything so efficient as actual time travel. A low, melancholy resonance establishes itself and then seems to inspect its own surroundings. Additional tones appear without announcing themselves as events, subtly modifying the harmonic temperature. The piece does not progress by accumulating conventional musical information. Instead, its changes are perceptual: a tone that initially seems distant becomes suddenly intimate; a stable chord reveals a faint internal agitation; what appeared to be a background layer turns out to have been doing most of the emotional work all along.

There is considerable discipline in this apparent simplicity. Anyone can sustain a guitar note. Doing so for twelve minutes while keeping the listener aware of minute changes in colour is another matter. Serries understands that repetition becomes interesting when the ear is given a reason to keep checking whether anything has changed. The answer is usually yes, although sometimes the change is so slight that the listener feels almost complicit in discovering it.

"Slowly Wired" is more obviously concerned with the electrical character of the instrument. Its harmonics gather in overlapping strata, producing a sensation of motion without requiring a beat. The title is almost comically accurate: the guitar seems to be connected to some enormous circuit whose voltage has been turned down sufficiently for us to hear the wiring rather than the fireworks. Serries' effects do not decorate the guitar from the outside. They alter its identity, allowing a recognisable instrument to become a collection of resonances whose origin remains just visible enough to keep the music tactile.

This is an important distinction in an era when ambient music can too easily become indistinguishable from a beautifully photographed productivity app. "Curves of Splendor" has warmth, but it does not confuse warmth with blandness. Its harmonic language contains small frictions and ambiguities, and the brighter passages retain enough density to avoid becoming sonic wallpaper. The optimism in the record is therefore more convincing because it has not been achieved by simply deleting every darker shade.

The twelve-minute "A Curve of Splendor" develops that idea with particular patience. Its layers seem to bend around one another rather than move toward a destination, creating a sensation of continuous curvature. There is no dramatic arrival because the point is not arrival. Serries is interested in what happens when a sound remains present long enough for its physical character to become perceptible. Harmonics shimmer, tones thicken and recede, and the boundaries between foreground and background become pleasantly unreliable.

This is where the album's title starts to make more sense. The “curves” are not merely melodic or spatial. They describe the way the music changes without breaking its continuity. A chord can brighten without becoming a new chord; a drone can acquire tension without turning into a climax; a familiar interval can suddenly seem larger because the surrounding frequencies have shifted. Serries makes these almost microscopic adjustments carry the expressive burden normally assigned to melody, rhythm and dramatic structure.

Then comes "Oblivion Serenade", occupying more than half an hour and effectively changing the scale of the entire album. Thirty-three minutes is enough time for the listener's usual impatience to begin making administrative inquiries, but the piece has little interest in satisfying it. Instead, it establishes a broad field in which harmonic layers slowly alter their relationships. The effect is hypnotic without relying on the blunt repetition of a conventional loop. One begins listening less for “what happens next” and more for the exact character of what is already happening.

There is something almost old-fashioned about this kind of attention. Serries asks for the listener to stay with a sound rather than consume a sequence of developments. That makes "Curves of Splendor" surprisingly resistant to background listening, despite belonging to a genre that is frequently recruited for precisely that purpose. It can certainly accompany quiet activities, but its subtleties reward a more concentrated ear. The longer one remains inside the piece, the more its apparently uniform surface starts to reveal differences in density, pitch and resonance.

The album also makes an interesting companion to Serries' earlier ambient history without functioning as a nostalgia exercise. His vidnaObmana work was strongly associated with synthesizers and elaborate electronic environments, whereas his contemporary ambient practice places the electric guitar at the centre of the process. The instrument gives the music a certain organic irregularity. Even when heavily processed, its harmonics retain traces of touch, pressure and physical vibration. The electronics do not erase the guitar's body so much as stretch it beyond its usual proportions.

That may be why the record's serenity never feels entirely weightless. Beneath the smooth surfaces there is always evidence of something being played, manipulated and listened to in real time. The music has patience because the musician has developed a remarkably detailed understanding of how little needs to be changed for a texture to become newly expressive.

"Curves of Splendor" is therefore less a collection of four ambient compositions than an extended study in controlled continuity. Its achievement lies in making duration itself expressive without turning slowness into a virtue merely because it is slowness. The four pieces occupy a narrow territory, but Serries knows that narrow territories can contain plenty of weather.

And perhaps that is the album's most useful form of optimism. It does not promise transcendence, enlightenment or any of the other expensive nouns routinely attached to ambient music. It simply demonstrates that attention can still make small things seem substantial: one harmonic overtone, one change in density, one tone arriving slightly later than expected. In a culture that keeps mistaking acceleration for progress, Serries offers something almost radical by comparison: music that has nowhere urgent to be, and consequently has time to notice what is happening.

"Curves of Splendor" does not demand that the world disappear. It merely makes it quieter for a while, which, given the current state of the species, is already a fairly respectable achievement.

The title "Airflow" sounds almost too sensible for a record involving Mats Äleklint, Sten Sandell and a church organ. Air is, after all, the basic requirement of both instruments: the trombone needs a player's breath, the organ needs a mechanism to push air through pipes. But on this album air is not merely the invisible employee doing the actual work behind the scenes. It becomes the thing being shaped, stretched, interrupted and occasionally made to sound as though it has developed opinions.

Recorded at the Church of Revelation in Saltsjöbaden on March 2nd, 2026, "Airflow" contains six entirely improvised pieces, with Äleklint on trombone and Sandell on pipe organ. The recording was made, mixed and mastered by Äleklint himself, and the circumstances matter. There is no elaborate ensemble architecture here, no rhythm section to provide diplomatic relations between the two protagonists, and no predetermined composition waiting patiently underneath the improvisation. Instead, the music depends almost entirely on how accurately two experienced musicians can sense what the other is doing.

That is hardly an inexperienced pairing. Äleklint has spent decades moving between free improvisation, jazz, large ensembles and projects such as Angles and Fire! Orchestra, while working with figures ranging from Carla Bley and Dave Holland to Paal Nilssen-Love and Mats Gustafsson. Sandell has an equally formidable history, both as a member of Gush and through collaborations with Evan Parker, Sven-Åke Johansson, Paal Nilssen-Love and many others. He is also a composer whose work extends into voice, electronics, text and visual art. Their familiarity is therefore not the interesting part. The interesting part is what they choose to do with it.

"Fanfare" begins by making the trombone sound almost excessively human. Äleklint's breath produces attacks that can be abrupt, grainy or strained, while Sandell gradually establishes the organ's much larger reservoir of resonance. Yet the organ does not simply become an imposing background. It answers, interrupts and changes the apparent scale of what the trombone is doing. The two instruments initially seem to occupy different physical universes, only to discover that their sounds can meet surprisingly close to the same point.

"State of Mind" reduces the rhetoric and concentrates the listening. It is one of the album's more revealing moments because very little needs to happen for the relationship to remain compelling. A sustained organ tone can alter the perceived pitch of the trombone; a small change in Äleklint's embouchure can make the surrounding resonance suddenly feel unstable. Improvisation here is less about spontaneous invention than about extremely quick adjustments to changing circumstances.

The longer "All Aboard" develops this principle without rushing toward some grand climax. The title might suggest departure, movement and a timetable, but the music has no interest in keeping railway time. Its pace is patient, and the tension comes from the changing behaviour of the sounds themselves. Sandell can make the organ seem almost static while its internal colours continue shifting, whereas Äleklint's slide allows him to occupy the unstable territory between fixed pitches. The contrast gives the piece an unusual sense of elasticity.

There is something particularly fascinating about the organ in this context because it is both an instrument and a building-sized proposition. A trombone is carried into a room and immediately depends on the body of its player. A pipe organ remains there, occupying architecture, waiting for somebody to decide which of its enormous possibilities should become audible. Sandell knows how to exploit that disproportion without allowing the organ to win simply because it has more cubic metres.

"Broken Machine" makes the physical mechanics more conspicuous. The sounds become harder, sharper and less obviously instrumental, with the organ acquiring percussive and pneumatic qualities while Äleklint manipulates the trombone into rasping, muted and fractured forms. The title becomes almost literal without becoming descriptive: mechanisms seem to be revealing their joints. Yet there is humour in the situation too. These are two highly sophisticated musicians apparently spending several minutes investigating how much damage can be done to two perfectly respectable instruments without actually breaking either of them.

"Meeting Points", Äleklint's sole individually credited composition on the record, is more fragile. The trombone can suddenly sound intimate, almost vocal, while Sandell chooses colours that reduce the organ's monumental reputation to something thinner and more elusive. It is perhaps the clearest demonstration that "Airflow" is not simply an exercise in weight. The album understands that a large sound is not necessarily a powerful one, and that restraint can make resonance more conspicuous rather than less.

The final "Alloy" brings the album's central relationship into especially sharp focus. The word suggests combination, but also material transformation: different substances retaining their identities while producing something that neither could have produced alone. That is close to what happens throughout the record. Äleklint and Sandell never quite disappear into a single sound, despite occasionally approaching that effect. Their individual timbres remain perceptible, but the listener becomes increasingly interested in the boundary between them.

This is also where the church setting proves more than convenient acoustics. The organ inevitably carries centuries of cultural baggage, from sacred music to grand concert repertoire, while the trombone arrives with an entirely different history of military bands, jazz, popular music and experimental improvisation. "Airflow" does not attempt to reconcile those histories or turn them into some tasteful ecumenical meeting. It simply puts them in the same room and allows their physical properties to negotiate the consequences.

The most successful free improvisation does not necessarily sound free. It can sound remarkably precise because the musicians are responding with enough speed and attention to make uncertainty itself structurally useful. That is what gives "Airflow" its character. The music never feels as though Äleklint and Sandell are searching for a predetermined destination, but neither does it wander aimlessly. Each piece develops through accumulated decisions, with the players repeatedly testing how much tension a sound can carry before it needs to change.

There is also something quietly generous about the album's refusal to over-explain itself. The premise is simple: trombone, organ, air, room, six improvisations. Human beings have spent centuries finding increasingly complicated ways of making music, and then occasionally somebody remembers that two people breathing into things can still be enough.

"Airflow" is one of those occasions. Its real achievement is not that the trombone and organ sometimes become difficult to distinguish. It is that they remain unmistakably different while learning, piece by piece, how to inhabit the same acoustic reality. The music does not dissolve the distance between them. It makes that distance productive.

There is something pleasantly suspicious about a record called "Low Birds" made by an electric guitarist and a tubist. Birds are generally expected to provide altitude, while tubas have spent most of their respectable lives being told to stay near the floor. Marcelo dos Reis and Salvoandrea Lucifora seem happy to ignore this arrangement. Their music does not so much depict birds as examine what happens when two very different instruments are allowed to behave badly in the same room.

Recorded in Amsterdam in June 2025, "Low Birds" is a completely improvised meeting between dos Reis's guitar and Lucifora's tuba, percussion and shells. It is a small-scale setup, but hardly a modest one. The album's seven pieces move through an unusually broad range of density, from the four-part "Low Birds Suite" to the more pointed "Coleman Whisper", the abrasive tension of "Song of the Flying" and the unexpectedly tender "Birds Rave". The result is less a demonstration of instrumental technique than an extended study in how two players can make each other change direction.

Dos Reis has been one of the important figures in Portugal's experimental improvising community for years, both as guitarist and as the person behind Cipsela Records. His discography moves freely between solo work and collaborations with musicians such as Evan Parker, Elliott Sharp, Burton Greene and Carlos “Zíngaro”. His approach to the guitar tends to resist the usual division between melody, texture and noise: a string can suggest a line, a scrape can interrupt it, and the distinction between the two is often less important than what happens next.

Lucifora comes from a somewhat different but equally porous musical territory. Born in Sicily and based in Amsterdam, he is a multi-instrumentalist, composer and multimedia artist whose practice encompasses tuba, trombone and live electronics. His work ranges from collective improvisation to projects incorporating African, Caribbean, Balkan and jazz-derived elements. The tuba, in his hands, is consequently not obliged to behave like the respectable brass instrument one might remember from childhood bandstands. It can grunt, breathe, rasp, flutter and become almost vocal.

That flexibility is crucial to "Low Birds". The opening "Low Birds Suite" unfolds in four connected sections, and its real subject is conversation. Dos Reis rarely treats the guitar as a lead voice requiring accompaniment; Lucifora does not simply supply the bottom end. Instead, both musicians keep proposing incomplete thoughts and listening for consequences. A guitar gesture can hang in the air long enough for the tuba to answer it from underneath, while a low brass resonance can suddenly make a previously delicate guitar figure seem strangely exposed. The music has melody, but melody here behaves less like a destination than like a passing thought.

This is where the recording's intimacy matters. It was made at Lucifora's room in Amsterdam rather than in a large studio or concert hall, and the album benefits from that sense of proximity. There is little temptation toward grandeur. Even when the sounds become forceful, they retain the awkward physicality of two people actually producing them: breath meeting metal, fingers finding strings, objects being struck, resonance beginning and dying. Improvisation becomes audible not as a philosophical principle but as a succession of small decisions.

The four-part structure is particularly effective because it avoids the common free-improvisation problem in which “spontaneous” becomes synonymous with “everything at once.” The duo allows events to accumulate. Rhythmic suggestions appear, disappear and return in altered form; pitches acquire weight through repetition; silence becomes a genuine participant rather than the obligatory gap between noisy episodes. There is a sense of two musicians discovering the dimensions of the same room by approaching it from different angles.

"Coleman Whisper" makes the album's lineage more explicit. Its title points toward Ornette Coleman's harmolodic thinking, but the piece does not turn the reference into a reverential exercise in jazz archaeology. Instead, the idea seems to function as permission: pitch, rhythm and hierarchy can be rearranged without having to destroy the possibility of lyricism. There are also hints of the knotty, conversational logic associated with Henry Threadgill, although the duo ultimately sounds like itself rather than like a bibliography with instruments attached. The reference is useful precisely because it opens a door without telling the musicians what they are supposed to find behind it.

Then comes "Song of the Flying", where Lucifora's extended-breathing techniques push the tuba toward something more unsettled. The title need not be taken literally. What matters is the physical instability of the piece. Dos Reis responds with a more agitated vocabulary, and the music becomes a contest between propulsion and resistance. It is perhaps the album's most physically demanding passage, yet it never collapses into mere demonstration.

"Birds Rave", by contrast, brings the record to an almost mischievous close. Percussion and shells add a different grain to the guitar, while the tuba becomes capable of surprisingly sensual vocal colouring. After all the negotiation, friction and exploratory detours, the final piece does not offer a grand resolution. It simply loosens the knots. That restraint is important: free improvisation is often expected to finish by proving that freedom occurred, usually by setting fire to the furniture. Here the musicians seem content to leave the room intact.

There is also a pleasing continuity between "Low Birds" and dos Reis's broader work. Cipsela has repeatedly documented improvised encounters in which musicians use the recording not merely to preserve an event but to give a particular relationship another life. The label's catalogue includes dos Reis's collaborations with Luís Vicente and Gonçalo Almeida, among others, and "Low Birds" belongs naturally to that lineage while changing its instrumental equation. A previous collaboration between dos Reis and Lucifora had already brought them together in a larger quartet in 2020; five years later, reducing the format to two players reveals just how much information can exist between a guitar and a tuba when neither musician is interested in filling every available centimetre.

What makes "Low Birds" ultimately satisfying is its refusal to confuse simplicity of instrumentation with simplicity of thought. Guitar and tuba are enough, provided the people holding them are prepared to listen more carefully than they play. The album's title may suggest something whimsical, but the music itself is concerned with more substantial matters: weight and lightness, breath and resonance, intention and accident, the delicate social mechanics of improvisation.

The birds can keep the metaphor. What remains is two musicians negotiating space, responding to one another with enough patience to let uncertainty become productive. For an improvised record, that may be the most convincing form of structure available.

Phil Coy’s "60bpm 33rpm" begins with one of those sounds that civilisation has trained us to ignore: a clock ticking somewhere nearby. We normally hear such sounds only when they stop, which is perhaps the most revealing thing about our relationship with time. The clock is allowed to organise our lives precisely because we have agreed not to listen to it. Coy’s record asks what happens when we do.

The source is the Benjamin Vulliamy turret clock installed at St George’s Church in Ramsgate in 1829, and Coy’s original "sixty beats per minute" was a two-month, site-specific installation there in 2025. Microphones amplified the mechanism into the church nave while a digital timecode followed its rhythm. Every six minutes, however, the system changed direction, sending the previous six minutes backwards through the speakers. The installation effectively turned the church into an instrument whose principal musician was a piece of Victorian engineering.

On record, the spatial complexity inevitably changes. The surround installation becomes an 18-minute stereo piece, and the church itself is no longer physically present. Yet this loss is partly compensated by the peculiar physicality of vinyl. The 33rpm object contains concentric grooves that echo the circular mechanics of the clock, turning the record into something more than a carrier for the sound. It becomes a small, black machine for contemplating machinery. Coy’s first vinyl release therefore makes considerable sense as an object, even before the stylus begins its pilgrimage around the edge.

The first side is remarkably patient. The clock does not announce itself as an artistic device; it simply ticks, while Ramsgate leaks into the recording: birds, distant voices, traffic and the indistinct activity of a town going about its business. The important thing is that the clock does not sit above this material as some grand philosophical narrator. It is embedded in it. Human activity happens underneath the beat, just as it does in ordinary life, where deadlines, school runs, meals, sleep and minor catastrophes all take place under the supposedly neutral authority of the second hand. Then the reversal arrives.

It is an excellent trick because it is so physically wrong. Reversed sound has an immediately recognisable unnatural quality, but Coy avoids turning the effect into a mere piece of audio sleight-of-hand. The backward clock seems to expose the difference between recorded time and lived time. A recording can reverse what has happened. Experience cannot. You can replay an argument, a childhood, a bad decision or an entire decade as many times as you like, but nobody has yet discovered the rewind button for consequences. Human civilisation has managed to invent clocks, databases, surveillance cameras and cloud storage, but apparently not a decent undo function.

That tension gives "60bpm 33rpm" its real weight. The clock represents time as measurement, while the reversal exposes measurement as an agreement rather than an absolute law. Six minutes can be divided, displayed, recorded, repeated and inverted, but none of these operations actually returns the world to the state it occupied six minutes earlier. Coy’s work therefore creates a small but quite unnerving gap between chronological time and perceptual time.

This concern fits naturally within his broader practice. Coy is an interdisciplinary artist whose work moves between sculpture, photography, film, performance and site-sensitive sound, with particular attention to the histories and architectures of specific places. His permanent "Stereo Pair" at Brunel University, for example, emerged from the history of acoustic listening technologies and pre-radar sound mirrors, while his work more generally tends to make architecture behave less like a passive container and more like an active participant.

That background matters here because "60bpm 33rpm" is not really a field recording in the conventional sense. Coy is not merely documenting Ramsgate, nor is he using the clock as convenient atmospheric decoration. He constructs a situation in which the place, the mechanism and the recording technology interfere with one another. The clock produces the pulse; the microphones transform it; the software decides when the past will be replayed; the church colours the sound; and the vinyl subsequently gives the whole process another circular body. Each stage alters what came before.

And then Adrian Sherwood gets involved, which is where the supposedly disciplined clock starts losing its trousers.

The second side consists of four dub treatments of the material, produced and mixed by Sherwood at On-U Sound Studios with Mark Bandolla on guitar and keyboards, Duncan Mackay on trumpet, Alex White on saxophone and flute, and Ivan Hussey on cello. Sherwood is almost absurdly well suited to the task. Since the late 1970s, his work has been built around treating recorded sound as something elastic: delay, echo, repetition, subtraction, distortion and spatial displacement become compositional tools rather than post-production cosmetics.

His contribution changes the philosophical temperature of the project. Where Coy’s side makes time strange by reversing it, Sherwood makes it unstable by multiplying it. The clock’s regular pulse is fed through dub’s familiar machinery and comes back wearing different clothes. Bass, percussion, horns, guitar and echoes establish alternative trajectories around the original beat. The clock is still there, but its authority has been seriously compromised.

This is perhaps the smartest pairing in the project. Dub has always possessed an unusual relationship with chronology. It takes something already recorded and turns it into a new event, often making the studio itself audible in the process. Sherwood does not simply decorate Coy’s concept with reggae-derived effects. He applies a production philosophy that has been concerned for decades with breaking linear musical expectation. The result is a dialogue between two kinds of temporal sabotage: Coy reverses the clock; Sherwood makes the clock proliferate.

The four dub pieces also prevent the album from becoming overly solemn. There is a temptation in sound art involving churches, nineteenth-century clocks, existential time and the crisis of modern temporality to start speaking as though every ticking second were personally responsible for the decline of Western civilisation. Sherwood provides a useful corrective. Suddenly the great mechanical order is wobbling, echoing and acquiring horns. The clock has gone from authority figure to unreliable bandleader.

The locked groove at the end completes the joke with unusual precision. Instead of allowing time to proceed toward an ordinary conclusion, the record becomes physically incapable of reaching one. The stylus keeps circling the same tiny section, producing repetition without progress. It is both a literal property of the medium and an almost embarrassingly efficient metaphor for the human condition. We invented clocks to organise time, records to preserve it, and now the record gets stuck. Somewhere, a Victorian engineer is presumably filing a complaint.

What saves "60bpm 33rpm" from being merely clever is Coy’s sensitivity to sound as evidence. The distant life of Ramsgate remains crucial. The clock does not exist in abstraction; it is surrounded by the unpredictable noises of people, animals, weather and the town itself. When these sounds are reversed, their familiarity becomes subtly grotesque. The past does not return as memory. It returns as material that has been processed incorrectly.

That distinction is important. Coy is not claiming that time can be undone. He demonstrates how easily our perception of sequence can be manipulated. Six minutes forward and six minutes backward are technically composed of the same sonic material, yet they do not feel remotely equivalent. The difference lies not in the sounds themselves but in our expectation of causality. We expect footsteps to follow bodies, voices to emerge from mouths, birds to make noise before silence follows them. Reverse the order and the ordinary world becomes uncanny without any additional sound being introduced.

There is something quietly political in this, too. Mechanical clock time was historically tied to industrial discipline, punctuality, labour and the increasing standardisation of everyday life. The Ramsgate turret clock belongs to precisely that historical transformation, while its contemporary digital counterpart belongs to an era in which time has become even more pervasive: notifications, timestamps, calendars, productivity software, surveillance and the permanently available workplace. Coy’s machine is old, but the problem it exposes is painfully current.

The record does not offer an escape from this system. It does something more useful: it makes the system audible. And once time becomes audible, it stops seeming quite so inevitable.

"60bpm 33rpm" is therefore a modestly sized work with an unusually large subject. Its materials are simple: a clock, a town, a church, microphones, software, vinyl and a dub producer with an apparently inexhaustible supply of echoes. But their combination produces a strange little disturbance in our confidence that yesterday, today and tomorrow are as neatly separated as the numbers on a clockface suggest.

Time keeps moving, naturally. It has never listened to human requests.

But for roughly forty minutes, Coy and Sherwood make a convincing case for refusing to listen to it quite so obediently.