This, the last ever release on Brighton’s Curor label, is a testament to their genuine sense of musical aesthetics and their ability to line up great artists. Pulling together exclusive pieces by four well-regarded experimental female artists, this double 8” clear lathe set is a follow-up of sorts to the label’s 2007 release featuring Can’t, Carly Ptak, Heather Leigh Murray and Zaimph. This time around, a cast of Inca Ore, Dead Machine’s Tovah Olson, Smack Music 7 and Lexie Mountain offer their takes on physical and mental disintegration. Working with melodies built from the skewed recollections of cracked 78rpm jazz standards, Lexie Mountain makes her song from the glue of memory. For much of the song its construction feels exposed and loose, laughter and off-kilter moans bared in a kind of fucked-mind folk. Tovah Olson’s track is the most surprising piece, threads of hysteria-born vocal in the midst of shuddering garbage – it’s almost throwaway in its drifting-on-by vibe. Smack Music 7’s track is a descent, a sinking of manipulated sounds through a pall of budget supermarket own-brand paracetamol. With central sounds of bowed objects and the black ache of un-pollinated bird/animal/human cells, Karen Constance takes the lathe out on a woozy boat ride out and back again. Inca Ore’s trip is a gentler, more stable one. A vocal smear of sounds trapped by frost, Ore performs a minimalist teasing-out of the elements of broken language. Her receptors slowed by lack of need to communicate, this angel choir of flies leaks from front to back brain, and then out. 7/10 -- Scott McKeating (17 February, 2010)