Edition of 500 copies UK tour 7”. Tomutonttu aka Jan Anderzen of Kemialliset Ystavat presents a side of small instrument psychedelia, with day-glo ticker-tape melodies and fast, chattering drones. The Oneohtrix Point Never side is just gorgeous, a slow float through Zones Without People-style ambience and spiralling clouds of synthesized strings. Very beautiful. Recommended.

Debut LP from this new UK group on Luke Younger of Birds Of Delay’s Alter imprint: Liberez are a quartet featuring Tom James Scott, who made some recordings for Bo’Weavil, and that come out of free rock and improvisation but who have redirected their sound into the kind of phantom studio environs of early Nurse With Wound/United Dairies with macabre distressed/modulated vocals over spare ritual/organic percussion and the kind of aggressively primitive electronics of Michel Waisvisz or John Olson: “The Letter is the first album by Liberez, a group formed by recording engineer John Hannon and Pete Wilkins in Southend. The project began life exploring a deconstruction of the traditional “band” form before expanding to a quartet with the addition of vocalist Nina Bosnic, and multi-instrumentalist Tom James Scott (Bo Weavil Recordings). Musically rooted in improvisation, the band sought a progression from the loosely described "noise rock" sound at their inception into wider areas of sonic exploration. The tracks were recorded as a mixture of sessions at Hannon’s studio and external locations where fleeting incidents were captured on crude equipment such as mobile phones, and portable cassette recorders. It was a piece of text written by Bosnic that gave birth to the initial concepts that formed the backbone of The Letter, and new ideas with regards to incorporating her voice were then created within the group. Bosnic's vocals on this record bear little resemblance to traditional singing or melody but instead use the inflection and cadence of speech to play with syntax. The repeated phrases and deconstructed sentences give the record an unusual and disconcerting atmosphere, acting as a sinister bedfellow to the sharp and broken sound of the guitar and heavily treated drums. Whilst these instruments may represent rock’n’roll, Liberez are content to take influence from the likes of Robert Ashley rather than Chuck Berry. The Letter is a bold first statement from a group who are taking full advantage of what they have at their disposal, and proudly displays the vast frequency bandwidth that they now work within.” – LY. Edition of 300 copies.