Composed from field recordings collected in transport-related zones around France – harbours, car parks and train stations – Mathias Delplanque’s album traffics in a dense ambience that tends towards the minatory, pointing up the uncertain, interstitial nature of transit. ‘Passeport 1 (Nantes)’ rolls out corrupted foghorn calls one over the other, with rattling train carriages picking their way between their dense sonic mass. The effect is powerful, but perhaps nothing particularly new. It’s amid the massed brassy rumbles of ‘Passeport 2 (Lille)’ and the dripping, organic bliss of ‘Passeport 6’ – a little reminiscent of Rosy Parlane’s Jessamine – that the real distinction of this work becomes apparent. Chris Power
via Drowned in Sound