"Before sitting down and listening to this new release by UK-based, Canadian artist Xenia Pestova Bennett, one is immediately struck by the vibrant, compelling images on the cover design. This is one of those exceptional instances where the sonic expression found therein sounds just as its extramusical inspirational sources look: stunning chemical elements that glow and pulsate. From Pestova Bennett’s liner notes: “Radium is an element which glows pale blue, Plutonium glows deep red, Tritium is green and the gas Radon is yellow at its freezing point, and orange-red below. I added the fifth, obsessively-repetitive loop… this element is silvery-white, glowing blue.” Glowing Radioactive Elements, the five tracks that correspond to the colours depicted, unfold in a well-curated and scintillating arc. The beauty of sound that emerges from Pestova Bennett recording this music on a piano with magnetic resonator – designed and trademarked by Andrew McPherson – enhances the sound world and draws the listener in, through dips and heights of pianistic gesture. The effect is akin to watching slow-moving landscapes in isolated, unfamiliar parts of our globe. The range of expression and musical material here is impressive: spontaneous at times and focused, personal and singularly driven at others. This disc rolls on to its significant final track, featuring the Ligeti Quartet in a companion work to the first, Atomic Legacies. Pestova Bennett directs the action in a florid series of closely connected gestures, deconstructing Haydn’s music and her own."

Deluxe version of the album now available to pre-order including bonus tracks and remixes from:  https://pomeraniansnout.bandcamp.com  “Nostalgia (from nostos – return home, and algia – longing) is a longing for a home that no longer exists or has never existed. Nostalgia is a sentiment of loss and displacement, but it is also a romance with one’s own fantasy. Nostalgic love can only survive in a long-distance relationship. A cinematic image of nostalgia is a double exposure, or a superimposition of two images – of home and abroad, past and present, dream and everyday life. The moment we try to force it into a single image, it breaks the frame or burns the surface.” - Svetlana Boym, “The Future of Nostalgia” “I’m not deliberately out to antagonise an audience or spite them or anything like that, but if they adopt the attitude of ‘This isn’t what we expected’, then yippee, I’m gonna wallow in that, because you shouldn’t sit back and expect anything at all.” - John Lydon, “Anger is an Energy” Spring time. Three period instruments from the turn of the century: Yamaha CS1X, Korg MonoSynth 2000, MicroKorg Synth Vocoder. Fingers fumble, sounds happen - obnoxious, unapologetic, fragile like a wobbly cassette that you’ve listened to a million times on the Walkman you dropped before you could afford a Discman. I’m not playing the instruments, they are playing themselves, they are playing me and there is no forcing or fighting them. Faded-photograph sunshine sounds of ’90s electronica, caramelised sweetened condensed milk, the beach, rage, DIY chamber music for cats. Then, it stops: the end of nostalgia and the end of the world as you know it. We are getting old and the sounds have lost their innocence. Thank you to Ed (Teddy) Bennett, Michael Keeney and Hannah Peel for the synth love.  -- Xenia Pestova Bennett - composition / performance / recording / mixing -- Ed Bennett, production / creative & artistic concept Antony Ryan (RedRedPaw), mastering Oliver Barrett, cover design from a photo by Xenia Pestova Bennett