World of Echo

World of Echo amateur & non-amateur music | 46 cheshire street, london, e2 6eh | mon - thurs 12:00 - 17:00 | fri & sat 12:00 - 18:00 | sun 12:00 - 17:00 | website open 24/7

Cold Light - Coldtron2FO, 2026FFO: Young Echo, Jabu, Rest Symbol, Babyfather, Rhythm & SoundInternationally diffuse and ...
18/08/2026

Cold Light - Coldtron2
FO, 2026
FFO: Young Echo, Jabu, Rest Symbol, Babyfather, Rhythm & Sound

Internationally diffuse and supremely well travelled collective Cold Light finally unleash their debut album for FO (Rest Symbol, Ibrahim Alfa Jr.) after a series of shorter-run releases for the likes of 12th Isle, Accidental Meetings, Felt++. Coldtron2 certainly feels like the sum of its ingredients, a concoction of contributions from rappers and producers drawn from the worldwide electronic underground (Portland to Bristol to south London to… Hungary!) that speaks to the current moment in experimental post-genre/post-NTS music making, summoning the ghosts of dub, trip hop, ambient, grime & hip hop, downtempo and dreampop into a smoky plume of afterhours angst and self-reflection. There’s a lot of voices involved here, though never to the detriment of the record’s overall coherence - this doesn’t feel like a record made by committee, but instead via an agreed vision. I wonder, was there one guiding hand more dominant here than another? If pushed, I’d say this sounds like a very Bristol-coded collection, even when the various accents of the assorted vocalists (rappers, singers, spoken word contributions) suggest other parts of the world. It’s written in the spirit of an ever-inquiring sonic language that has long been a staple approach to Bristolian soundsystem culture and its various transgressions in electronic sound production and approaches. Young Echo seem like as good a reference point as any, though you may also hear traces of label mates Rest Symbol, the open-ended approach of Babyfather or Vegyn, which taken as a whole will give you a pretty clear idea as to the attitude being channeled here. Highlights all over the place, but if you’ve only a moment to dip in, start with the epic ‘Fields in B’ a Rhythm and Sound-styled dubwise descent into late night retrospective brimming with lyrical wisdom and expert production choices. Another inspiring transmission from the ever cross-pollinating world underground.

Paintings of Windows (Antony Milton) - Pororari River MouthBunkland, 2026FFO: Little Skull, Andrew Chalk, Surface of the...
17/08/2026

Paintings of Windows (Antony Milton) - Pororari River Mouth
Bunkland, 2026
FFO: Little Skull, Andrew Chalk, Surface of the Earth, The Gerogerigegege’s >(decrescendo)

Paintings of Windows is the name lent to one of many projects led by the astonishingly productive New Zealand artist, Antony Milton, and for the most part has lay dormant for the past decade or so. Originally issued as a limited lathe cut in 2012, the re-release of Pororari River Mouth by UK label Bunkland doesn’t really change that fact much, but it does bring closer to the light music that until now has mostly been hidden away in micro-editions on the other side of the world. The question, then, is why now? Well, why not? There’s never a bad time to be reminded of some pretty music, and that’s precisely what Pororari River Mouth is, a 35 minute ambient piece presented in six different sections that’s firmly rooted in the practice of field recordings and the tradition of minimalism. Previous Paintings of Windows recordings were more abrasive and/or abstract in nature, but certainly not here, where Milton constructs a slow-moving, pastoral scene that’s heavy in pathos and intrigue. Synths drift and undulate in a vaguely new age fashion, verging on a kind of cosmic psychedelia that makes you wonder if the titular river mouth might in fact be a portal… Elsewhere, the buzz of controlled, sustained feedback makes gestures to the work of the neighbouring World Resources crew, while the layered field recording hum of 11 minute closer ‘Prismic Waves’ finds a peaceful spot between Andrew Chalk and The Gerogerigegege’s atypical >(decrescendo). How many people heard this 13 years ago I don’t know, but thankfully somewhere along the way Bunkland did and then decided to bring it to the wider world (but only in an edition of 100, mind you). Such blind passion is never a folly.

Loren Connors & David Grubbs - Somewhere In the WindRoom 40, 2026FFO: Roy Montgomery, Ry Cooder, Alan Licht, Robbie Bash...
15/08/2026

Loren Connors & David Grubbs - Somewhere In the Wind
Room 40, 2026
FFO: Roy Montgomery, Ry Cooder, Alan Licht, Robbie Basho

Loren Connors and David Grubbs’ third collaborative record together is also the first on which they both play guitar, which is both surprising and not, given how it’s the principal instrument of both but that neither of them are particularly regarded for taking the obvious route. In which case, Somewhere In the Wind doesn’t so much seem to play to type, but will nonetheless be hugely satisfying for anyone who has taken an interest in their respective playing over the past, I don’t know, 40 or so years. There’s a range of nomenclature that loosely fits the space in which the pair operate - avant blues, post-blues, post-rock, all of which gesture towards some abstraction, innovation or obfuscation of the norm, which is probably as good a way as any to describe to the uninitiated what Loren Connors and David Grubbs have spent a lifetime doing, either singularly or in (comm)union with others. More specifically, these two long form pieces reflect a kind of haunted American Primitivism, spectral guitar figures evocative of that eternal ghost highway that seems to run a thread through the last century of North American music. For all their experimentation, I suppose you can then also argue that Somewhere In the Wind works in its pursuit of a tradition, whichever paths it chooses to deviate off down in order to get there. What else should we expect from such well versed innovators?

Coinciding with the release of the Fully Nowhere: a World Resources archive dbl LP release last week, Don Smith from Sur...
15/08/2026

Coinciding with the release of the Fully Nowhere: a World Resources archive dbl LP release last week, Don Smith from Surface of the Earth has put together an hour long show for NTS that maps both the label and influences that helped shape its astonishing output. Available to listen to… right now. // NTS Radio

Small snapshot of the 100+ new second hand arrivals - Cale/Riley, Jarman/Braxton, These Immortal Souls, Movietone, Kali ...
14/08/2026

Small snapshot of the 100+ new second hand arrivals - Cale/Riley, Jarman/Braxton, These Immortal Souls, Movietone, Kali Malone, Bowery Electric, Stereolab, Blueboy, CS+Kreme etc etc. Someone’s mistake to part with these is your opportunity to seize. Lovely stuff

S.B.A. - Heresy MuseumNice Music, 2026FFO: People Skills, Eyes of the Amaryllis, Mark Gomes, Primitive Motion, Maths Bal...
13/08/2026

S.B.A. - Heresy Museum
Nice Music, 2026
FFO: People Skills, Eyes of the Amaryllis, Mark Gomes, Primitive Motion, Maths Balance Volumes

The artist formerly/also known as People Skills reemerges amidst smoke-clouded light as S.B.A. (meaning Samael B. Aaens, apparently, that B cryptically hanging in the air like the J in Homer. J. Simpson...), though remains glued to the same sticky path of murky sonic unspooling of former exploits, albeit in somewhat (even!) more dissolved form. If there’s a major difference in approach it’s the absence of Jesse S. Dewlow’s voice, with a Heresy Museum an entirely instrumental affair (save for one snippet of sampled dialogue), built from percolating synths and purgatorial drone ambience, like a particularly lunar and decayed Berlin School mutation. This is music firmly for the in-between zones, the sound of collapsing machines and - gulp - liminal spaces that conjures a slightly uneasy feeling of the unknown. People Skills, and Dewlow’s other group, Eyes of the Amaryllis, often expressed that same feeling, but with S.B.A. there’s an even greater gesture towards the outre, a little more nebulous and unmoored, existent in its own sticky amber of time.

Food People - Rainsmoked ChristmasSlipping, 2026FFO: Ashtray Navigations, Family Underground, Astral Social Club, Crazy ...
12/08/2026

Food People - Rainsmoked Christmas
Slipping, 2026
FFO: Ashtray Navigations, Family Underground, Astral Social Club, Crazy Doberman, Germ Lattice

New-ish Glasgow label Slipping introduces its second - and maiden vinyl - release to the world with the latest effort from long-standing experimental trio Food People, and it’s a doozy alright. If you’ve spent much time fannying around in the backwaters of the UK underground you’ll likely have come across one or two of their cassettes and/or CD-rs for Chocolate Monk, GLARC or Sound Holes, but on Rainsmoked Christmas (an inscrutably brilliant title, I’ll add) you can understand why now the upgrade to vinyl. This is ostensibly broken sounding music, lots of it in the red, a good deal of it drenched in tape hiss, and a fair old whack just thrillingly wobbly and wrong, a blitz of bedroom psychedelia and first-thought-best-thought f**kery reminiscent of the intrepid inner-journeying of the likes of Ashtray Navigations and Family Underground. There’s something very pleasingly loose and unmoored about these nine tracks that feels supremely indifferent to the expectations of others or any prevailing sense of convention. Just three people in a room, getting down to it and twirling around a shared idea. America is great at producing this kind of group, the UK less so in recent times, but when we do, it’s usually a very good one, in that Volcanic Tongue championing kinda way - in more recent times you might consider that to be Mosquitoes or Germ Lattice, for example. Food People don’t so much sound like either of those, but they do share that same desire for the freeform and the freewheeling. It’s nourishing business.

The Durutti Column - RenascentLondon, 2026FFO: Steve Reich, early ambient era Eno, Arthur Russell, Penguin Cafe Orchestr...
08/08/2026

The Durutti Column - Renascent
London, 2026
FFO: Steve Reich, early ambient era Eno, Arthur Russell, Penguin Cafe Orchestra

It’s been 16 years since the release of the last Durutti Column album and chances of another began to feel increasingly remote. The few recent photos of Vini Reilly that had surfaced had shown him to be looking increasingly wraith-like (even more so for a man who has generally cut a ghostly figure throughout his time in the public eye) and reports of his ill health - three strokes! - did not bode well, especially with the news that his ability to play the guitar, his signature instrument no less, had all but been lost to him. And yet here we are with Renascent, and proof that Factory’s most defiantly singular of artists was still exactly that. The defiance here, as throughout the entire DC catalogue, lies not in power but beauty, a trademark diaphanous sensitivity that’s both nakedly human and mesmerisingly alien. This is a vernacular very specific to Reilly, so much so that even now that he lacks the ability to perform and record as he once did, those that are around him are able to articulate the language on his instruction, so clear and persistent is that artistic voice. The two additional musicians in question, longstanding collaborators Keir Stewart and Bruce Mitchell, deserve great credit also, their contributions, be that via performance and/or production, are necessarily thoughtful but certainly not overly reverential or sterile. In short, this is no exercise in sentimentality or parodic retread, instead amongst some of the most compelling late period output in the vast 28 album catalogue. There are a few guest vocalists, though my preference is for when Reilly sings himself, who has never really ever been a singer and the reason why I like it best when he does - “all my favourite singers couldn’t sing” et al. (1/2)

OUT TODAY! WOE025: V/A - Fully Nowhere: a World Resources archivedigital/dbl LPFully Nowhere: a World Resources archive ...
07/08/2026

OUT TODAY!
WOE025: V/A - Fully Nowhere: a World Resources archive
digital/dbl LP

Fully Nowhere: a World Resources archive compiles material drawn from limited lathe 7” singles and LPs released by the Aotearoa/New Zealand label, World Resources, predominantly across the 1990s. Supplemented by previously unreleased archival recordings, and material drawn from recent sessions, it’s a revelatory listen, a judicious selection of drone, noise pop, fractured electronics and laminal improvisation from the small community of musicians surrounding the legendary Wellington free noise trio, Surface of the Earth, whose membership drove World Resources. Thanks to Jon Dale, Matthew Walkerdine, Ben Tandy and everyone involved in World Resources for helping usher this into the world with us.

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