Ten years ago, Alex Peringer from London captured the attention of underground club audiences with his unique approach to dance music. His songs, characterized by complex time signatures and clever narratives about unfulfilling relationships and misadventures with substances, drew inspiration from a wide array of genres, including UK funky, new wave, and even sea shanties. After a prolonged period of relative quiet, Peringer has now reemerged with his debut self-released album, titled How Long Has It Been?. This title not only reflects his absence but also signifies a shift in his musical style.
Upon first hearing the album, listeners will notice a stark contrast to Peringer’s earlier work; the once jarring musical structures have given way to the soothing sounds of the Rhodes electric piano and a seemingly sincere emotional depth. However, elements of his distinctive style remain, woven throughout this collection of moody, introspective bedroom-pop tracks.
The album is centered around the theme of winter, which resonates well with the current transitional season. Its narratives of self-reflection and unpredictable weather are complemented by gentle, straightforward compositions. There are subtle quirks that prevent the music from feeling overly polished; for instance, the track “Before and After” includes a nod to a “fateful bong,” while the dreamy duet “Two Lovers” features unexpected glitches among its delicate melodies and mumblecore guest vocals. Additionally, the chords in “Black Keys” undulate, contributing to the collection’s beauty and melancholic ambiance.
Peringer’s use of unconventional sounds and echoing effects evokes comparisons to Arthur Russell’s World of Echo era, while tracks like “Water of Life” and “I’m Not Me” capture the gentle sadness and understated drama reminiscent of Robert Wyatt. A significant portion of the album’s appeal lies in Peringer’s uniquely offbeat vocals, which fluctuate across different pitches. In the lively title track, he nearly breaks down as he reflects on an ex-partner’s new child, only to follow it with a playful jab. Even in lighter moments, the songs are rich with emotion.
Meanwhile, on Bunker Intimations II (Tough Love), a gripping three-day improvisational session by the London ensemble Index for Working Musik results in an exceptional, haunting assortment of recordings. The tracks exude a dimly lit, claustrophobic atmosphere, blending elements of hypnotic space rock and creaky post-rock, interspersed with lively folk melodies and orchestral interludes. In 1991, Rudy Tambala from AR Kane and Alison Shaw of Cranes created a series of soft, introspective pieces as Inrain. Now, three decades later, these tracks receive a remaster and re-release, along with one new addition, as Rise (Music From Memory). Their shoegaze-inspired downtempo sound possesses a timeless quality. Additionally, “All Shall Go (Long Gone Are the Old Traditions)” by Damos Room, a project led by London musicians Elijah Minnelli, Luke Miles, and Nicholas Elson, presents a chaotic blend of spoken word, industrial beats, and murky dub textures, resulting in a dense yet captivating listening experience.
