Press

A reposit for reviews, and features

The Quietus—by Antonio Poscic—Graham Dunning – Quern

Graham Dunning – Quern

Fringes of Sound—GRAHAM DUNNING – QUERN

http://www.onthefringesofsound.com/2026/04/graham-dunning-quern

The Quietus–By Daryl Worthington Spool’s Out: Cassette Reviews for September

Spool’s Out: Cassette Reviews for September by Daryl Worthington

Bandcamp—By Bandcamp Daily Staff—Tape Label Report, August 2025

https://daily.bandcamp.com/tape-label-report/the-tape-label-report-august-2025/

Tabs out—Episode #211 | 10.19.25 Tam Lin – Fizzy!

https://www.tabsout.com/episodes/episode-211/

Tabs Out—Episode #203 | 12.27.24 Various Artists – Golly

https://www.tabsout.com/episodes/episode-203/

attn:magazine—By Jack Chuter—Nandele & A-Tweed – Xigubo Jul 27, 2023

https://www.attnmagazine.co.uk/review-nandele-a-tweed-xigubo/

Tabs Out—By Matty McPherson—Nandele & A-Tweed – Xigubo September 30, 2023

https://www.tabsout.com/reviews/tabs-out-nandele-a-tweed-xigubo/

Lost in a Sea of Sound—Sentry – Perfect Blue Bubbles May 21, 2022

https://lostseasound.blogspot.com/2022/05/sentry-perfect-blue-bubbles.html

Cassette gods—By -Ryan—Andrew Haines “Hidden In The Night” NOVEMBER 25, 2020

https://cassettegods.blogspot.com/2020/11/andrew-haines-hidden-in-night-jollies.html

 

There’s been talk of robots. Andrew Haines once went by the moniker Midnight Circuitry, and we all nodded knowingly and looked at each other with confirmation in our eyes. Because despite the fact that Andrew Haines was now going by “Andrew Haines,” it was evident that “Andrew Haines” was simply an AI construct, a series of nodes and wires and microprocessors behind a human façade. And who’s even to say that’s the truth? There’s no picture of “Andrew Haines” on this new Jollies tape, Hidden in the Night, so there may not even be a body to go with the personality. And aren’t the initials “AH” awfully close to “AI”? I mean, they’re one letter off, and the one letter off is adjacent to the incriminating one! I’m thinking this is all lightly veiled code.

But why the secrecy, why the deception? Was Midnight Circuitry too obvious an identity? My guess is yes, and the change was made to “Andrew Haines” to human it up a little. But the second you press play on Hidden in the Night, the entire charade crumbles in a heap of wiring. See, “Haines” can’t help but ratchet his “mind” open and allow the cracked, post-techno innards to spill out. Restless futuristic polyrhythms collide with dark neon nocturnal moods, everything automated and syncopated and perfectly adjusted for maximum efficiency. Synthetic blurts of color and melody pixelate at the point of reception, the waveforms accurately conveying the information from one machine to the next. Is it weird that a human like me can get so invested in such a singular display of dazzling software manipulation?

Have we even proven that I’m a human myself?

This is yet another feather in Jollies’ ever-filling cap – I’m not even sure they’ve released something that hasn’t wrestled me to the ground and pinned me into deliriously enjoying it. That’s not to say I have to be held down and forced to listen to something – they don’t actually need to do that to get me on their side.

WODJ—Discussion avec Kritzkom : Quand le silence réveille la Techno

Discussion avec Kritzkom : Quand le silence réveille la Techno

Cassette gods—By Jacob An Kittenplan ABAUNZ “Ilunpean Arnas Hotsa Entzuten” JULY 08, 2020

https://cassettegods.blogspot.com/2020/07/abaunz-ilunpean-arnas-hotsa-entzuten.html

 

From just southwest of the Pyrenes Mountain range, Abaunz, singing primarily in Basque, commands a raw & dirty mix of old school minimal industrial brutality, employing ancient drum machine programming, occasional guitar destruction, classic 80s stock synth tones, and tortured/chanted vocals; but overtop these elements is where it gets really interesting; Abaunz sprinkles in an innovative mixed bag of ambient texture, Euro-danciness, and even a skosh of Latin and Middle Eastern flavor, making “Ilunpean Arnas Hotsa Entzuten” (translation: Hearing the Sound of Breathing in the Dark”) a truly novel and inspiringly agitating, cohesive ride in unfamiliar (if not outright uncharted?) country.

Tabs Out—By Ryan Masteller—MosFet & Eustress February 11, 2020

https://www.tabsout.com/reviews/tabs-out-mos-fet-eustress-these-days/

Lost in a Sea of Sound—African Ghost Valley – AAM

https://lostseasound.blogspot.com/2020/04/african-ghost-valley-aam.html

Tabs Out—By Ryan Masteller—Reinartz – Interactions October 29, 2019

https://www.tabsout.com/reviews/tabs-out-reinartz-interactions/

Tabs Out—Episode #147 | 10.20.19 Új Bála – Lobban

 

https://www.tabsout.com/episodes/episode-147/

Neun—Photography Barbora Mrazkova—Semi Precious – I Lost a Bird

Sleep Deprivation and Walks in a Graveyard – How Fatherhood Shaped the Birth of a New EP

Igloo Mag—By

Graham Dunning :: Quern (Jollies)

Fringes of Sound—Tam Lin – Fizzy!

http://www.onthefringesofsound.com/2025/08/tam-lin-fizzy.html

Lost in a Sea of Sound—Jordan Christoff – Mystery Dimensions

https://lostseasound.blogspot.com/2025/07/jordan-christoff-mystery-dimensions.html

Lost in a Sea of Sound—Matthew Pepitone – Mp3 October 07, 2024

https://lostseasound.blogspot.com/2024/10/matthew-pepitone-mp3.html

Bandcamp Daily—By Joe Muggs—Babak Ahteshamipour – Violent Violins Exposed April 08, 2024

https://daily.bandcamp.com/album-of-the-day/babak-ahteshamipour-violent-violins-exposed-review/

Igloo Mag—By Babak Ahteshamipour – Mind Flaying Flavored Flails 02/16/2023

Babak Ahteshamipour :: Mind Flaying Flavored Flails (Jollies)

Lost in a Sea of Sound—Carrageenan – Distorted Reality

https://lostseasound.blogspot.com/2023/07/carrageenan-distorted-reality.html

Tabs Out—by Matty McPherson—Sentry – Perfect Blue Bubbles  

https://www.tabsout.com/reviews/tabs-out-sentry-perfect-blue-bubbles/

Noise Not Music—Jack Davidson—Geomag – below the river above the air (Jollies, Jul 29 2021)

 

Review: Geomag – below the river above the air (Jollies, Jul 29)

Cassette gods—By -Ryan—VARIOUS ARTISTS “Content Aware” MAY 21, 2021

https://cassettegods.blogspot.com/2021/05/various-artists-content-aware-jollies.html

 

A ten-track comp to mark Jollies’s tenth release, Content Awareexists as a perfect reminder of where the wacko electronic label has been and points toward an equally wacko future. I’ve personally enjoyed every Jollies release I’ve been lucky enough to get my hands on to a sublimely thorough extent, and Content Aware is no different. In fact, I’m only familiar with two (!) of the artists on it, Kritzkom and Asymmetrical Head, so that gives me an entire 80 percent of this thing to discover. And if that’s not a good reason to dive into a comp, I don’t know what is.

I mean, it’s really the best reason, especially if you trust the label putting the thing out. And I do. And it is. As usual, the lovely, dank, downtempo electro pulses with intense mood, and each artist makes themself at home on the tracklist. Francine Thirteen’s track is a nice vocal-led torch song, and Jap Kasai gets wildly playful on their quirky contribution. But the overarching aesthetic is fully in line with itself, making Content Aware the perfect tenth-release celebration for Jollies. There’s the uptempo crash of Sentry, the clicky pulse of Kritzkom, and the theatrical synth work of Private Grief, all Jollies tested, all Jollies approved. Why don’t you get in here and discover something for yourself, you savvy listener you?

Cassette gods—Ryan KRITZKOM “Fuzziness” MARCH 15, 2021

https://cassettegods.blogspot.com/2021/03/kritzkom-fuzziness-jollies.html

“That synth crawled outta that hole and had a little peek around before it ran off toward yonder hills.” So says my ancient interlocutor at the gas station off whatever this rural exit this is as he points to Appalachian wilderness behind the dilapidated structure that served these parts as far back as when Eisenhower was president. Truman maybe. That this gray, wizened, coverall-wearing, grease-covered remnant of bygone days even knew what a synthesizer was a mystery to me, but I would save that question for later, maybe. Kritzkom was out here, I knew it.

This is how I ended up here: Fuzziness, a transmission from tape label Jollies, landed in my mailbox, and I immediately knew it originated from somewhere out in the middle of nowhere, even though it was a lo-fi electronic number crafted by Berlin-based French artist Marine Drouan. There was a vibe here that simply stretched across space, way outside of an urban context, calling for free roaming under nothing but trees and sky. And so I devoured Fuzziness, letting it cloud my head, my intentions, like a fog bank, like a scrambled signal from a bunker that held secrets only I was going to be let in on.

I got in the car and drove a few hours, guided simply by the subliminal pulses and minimal techno of Fuzziness, stopping where I did on a hunch. It was the right one, and as I left the man and walked to the back of the building, eyes scanning the scrub brush and tree copses and outcroppings of hills harshly protruding from the ground. A synth emerged from a hole and absconded to a field. What does that even mean? I began to walk, twenty yards, thirty, forty, finding nothing but the land. Then I heard it – it might have been in my head, it might have been in the sky, it might have been coming from directly in front of me: Fuzziness, in its natural habitat. Kritzkom was close. But as I began to step further out into that all-encompassing sound on the wind, my head rang with reverberating tone, and my vision became purple. I blacked out.

I came to next to my car, hands on the hood, breathing heavily, sweating. I could see the old gas station owner through the window of the building, eyeing me with a suspicious look. I nodded, but I was shaken – my legs tingled and my fingers sparked. I tasted metal. Whatever happened to me out there beyond the gas station, where no other human being had ever ventured, stuck with me, overcame me. It was Fuzziness, distilled, uncompromised, in the wild. It was exhilarating.

I chalked it up to unanswerable mystery. Fuzziness, indeed, in its pure form, conjured by Kritzkom, spends its days frolicking in the wilderness behind that old gas station. And while I never actually encountered the entity Kritzkom itself while I was out here, I didn’t really think I was going to in the first place. I just wanted to see what I could see, and the spirit of Kritzkom is enough for me to call this expedition a success.

Cassette gods—Jacob An Kittenplan—African Ghost Valley – “Aam” APRIL 16, 2020

https://cassettegods.blogspot.com/2020/04/african-ghost-valley-aam-c20-jollies.html

With only a few (relatively) fleeting, danceable vignettes drifting in and out of the haze, Mos Fet & Eustress’s “These Days” rolls along, not so much with “raving beat tape” in mind as some sprawling, chopped & screwed gabber toolkit that’s been flayed & laid out bare upon a train station floor to collect dust and radiation from the surrounding ambiance, its disembodied energies given free, scaffold-less reign to roam & run the corridors, to stretch themselves out and hint at connections to past & future appointments, alternating between waxing fairly pleasant in their ghostly reveries and condensing heavy with distinctly foreboding tensions/atmospheric pressures.
Which is to say, this is pretty much a patient electronic sound collage of dub/techno tropes and impressionist spookinesses that will simply not sit quietly in the background for anyone other than those who have conditioned themselves to multitask amidst the blaring of happy hardcore: There’s a sneakily insistent narrative in there that will NOT be ignored!
Also, ya might check out NYC’s “Jollies Records” bandcamp page for some adventurous electronica-adjacent soundscapes, too. Fairly OM-flavored from the start, JR has been around a li’l less than a year, and it’ll be interesting to see where they’re headed!

Noise Not Music—Jack Davidson—African Ghost Valley – “Aam” March 11, 2020

 

Review: African Ghost Valley – AAM (Jollies, Mar 5)

Cassette gods–By Jacob An Kittenplan—Mos Fet & Eustress –“These Days” JANUARY 15, 2020

https://cassettegods.blogspot.com/2020/01/mos-fet-eustress-these-days-c31-jollies.html

 

With only a few (relatively) fleeting, danceable vignettes drifting in and out of the haze, Mos Fet & Eustress’s “These Days” rolls along, not so much with “raving beat tape” in mind as some sprawling, chopped & screwed gabber toolkit that’s been flayed & laid out bare upon a train station floor to collect dust and radiation from the surrounding ambiance, its disembodied energies given free, scaffold-less reign to roam & run the corridors, to stretch themselves out and hint at connections to past & future appointments, alternating between waxing fairly pleasant in their ghostly reveries and condensing heavy with distinctly foreboding tensions/atmospheric pressures.
Which is to say, this is pretty much a patient electronic sound collage of dub/techno tropes and impressionist spookinesses that will simply not sit quietly in the background for anyone other than those who have conditioned themselves to multitask amidst the blaring of happy hardcore: There’s a sneakily insistent narrative in there that will NOT be ignored!
Also, ya might check out NYC’s “Jollies Records” bandcamp page for some adventurous electronica-adjacent soundscapes, too. Fairly OM-flavored from the start, JR has been around a li’l less than a year, and it’ll be interesting to see where they’re headed!

Tabs Out—By Ryan Masteller—Various Artists – Crash Klang Bang Thang

https://www.tabsout.com/reviews/tabs-out-various-artists-crash-klang-bang-thang/