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Unpredictable interventions – the crashing glass in “Mono Valley”, the sudden explosions of “Orange Zero” – point towards the noise blowouts of My Bloody Valentine, the unpredictability of Sonic Youth; Wright’s understated vocal cadence suggest a deep, embodied understanding of John Cage’s Indeterminacy.\u003c\/p\u003e\n\u003cdiv class=\"columns indent-medium\"\u003e\n\u003cdiv class=\"column-50 stack-large\"\u003e\n\u003cdiv class=\"stack-medium\"\u003e\n\u003cp\u003eMovietone would go on to make three fantastic albums for Domino – Night \u0026amp; Day (1997), The Blossom Filled Streets (2000) and The Sand \u0026amp; The Stars (2003) – and their Peel Sessions were released earlier this year on Textile. Still held in high regard by artists like Steven R. 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While both had loosely defined roles—Chkheidze was responsible for the free-flowing beat programming and the evocative distortion came courtesy of Lippok, for example—they individually contributed in different ways to their joint process, which is as free of hierarchies as it is limitless. Hence, the duo’s focus on spontaneity and out-of-the-moment emergence makes them organically move beyond tried and tested conventions, resulting in music that seems to suspend time altogether. \u003c\/p\u003e\n\u003cp\u003eWhen the first chimes on Bird Song announce a piece that sets rattling kickdrums against a backdrop of layered drones and rhizomatically entangled melodic elements, it becomes clear why Uncontrollable Thoughts is uncontrollable thoughts. The album follows the constant detours of the subconscious of its makers, letting them explore moments of ecstasy such as on Rainbow, melancholy with Field, and the interplay of suspense and release through the ten-minute-long title track. 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