Rory Gibb of the Quietus reviews Laurel Halo Quarantine with encyclopedian charm.

Warren Ellis on the new Hildur Gudnadottir album: “Imagine a space between Zoe Keating’s driftier experiments and Julianna Barwick’s surreal single-voice choruses. It’s an incredibly beautiful, weightless piece of music that develops less like a composition and more like a weather system. I’ve listened to it a few times a day for a few days, and am still finding new cloud formations in it.”

Konfrontationen line up 2012 announced, one of the most pastoral avant-garde music festivals this side of Sirius.

This spring, through May 13, internationally renowned artist Doug Aitken (American, b. Redondo Beach, California, 1968; lives and works in Los Angeles and New York) illuminates the entire facade of the Hirshhorn’s iconic building, transforming it into “liquid architecture” and an urban soundscape. Using eleven high-definition video projectors, Aitken seamlessly blends imagery to envelop the Museum’s exterior, creating a work that redefines cinematic space. A bold commission that will enter the Hirshhorn’s permanent collection and enliven its public space, SONG 1 allows visitors to the National Mall a chance to witness the first-ever work of 360-degree convex-screen cinema.

DJ Rashad & DJ Spinn play at WORM in Rotterdam this Saturday.

Dabrye, Ikonika, Om Unit, and More on Illum Sphere Remix EP.

Warren Ellis has created another SPEKTRMODULE podcast for your interest. With music by Spell Hound, Popol Vuh and Dolphins into the Future. Press play.

DISK II is a full-length series of unreleased ambient music from Matthewdavid compiled since Vol.1 (2008-2012), burned to CDr, then housed in a hand-painted 5 & 1/4″ floppy disk. The nine-track collection features the friendships of Eola, Run DMT, Speculator, and a live performance on KXLU.

“With over 20 years of dance music evolution behind us now, would it be so strange for the next big evolutionary jump to come from a synthesis of past forms? One so far unheard of that sidesteps pastiche and mixture, instead delving into dance music’s increasingly complex DNA to fashion something genuinely new, as exciting as the birth of jungle or dubstep. And maybe we don’t need a ‘wot do you call it’ moment anymore to create the necessary shift forward. The dissolving of boundaries in the bass music umbrella, with its mixture of established forms, and the growing interest in genreless club nights and DJ/live sets that embrace the slow/fast idea further hints at this. It’s maybe less a case of ‘wot do you call it’ and more a case of naming it later and enjoying ourselves for now. After all, that doesn’t make it any less new, and at least it places the focus where it matters most: on the dancefloor.”

An insightful article by Laurent Fintoni on the mutations of juke and footwork.

Tom Service writes about Pauline Oliveros in the Guardian, whose sonic explorations take on life, the universe and everything.

Björk “Virus” (Hudson Mohawke Peaches and Guacamol Rework).