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Week In Review, 1/8-1/14/22


First time listens are listed in bold.


• Siavash Amini - A Trail Of Laughters(2021)
• Prants - Axon Ladder(2020)
• Severed Heads - Since The Accident(1983)


• Neil Cicierega - Mouth Dreams(2020)
• Kill Alters - Armed To The Teeth L.M.O.M.M.(2022)
• Uwalmassa - Malar(2022)


• Tomutonttu - Hoshi(2021)
• Vis-A-Vis - Obi Agye Me Dofo(1977)
• MonoLogue - Alice(2022)
• Tomutonttu - Seikkailun Tuoksu(2021)
• Courtesy - Check The Milk(2021)
• Uwalmassa - Malar(2022)


• Parker Sprout - Milk In The Sun(2022)
• Cleaners From Venus - Under Wartime Conditions(1984)
• Olivia Block - Innocent Passage In The Territorial Sea(2021)
• Eventless Plot - Apatris(2022)
• Shasta Cults - Shasta Cults(2019)
• Hideki Umezawa + Yoichi Kamimura - re/ports(2019)
• Lag OS - Pantano StereoMorfico(2018)
• Lag OS - Natura Oculta(2021)
• Ben & Jerry - Formant Fry(2020)


• Kill Alters - Armed To The Teeth L.M.O.M.M.(2022)
• AJA - Slug(2021)
• Rojin Sharafi - Zangaar(2020)
• Milan Knizak - Aktual Univerzita(2022)
• Senyawa / Black To Comm - Alkisah Versi Hitam(2021)
• Danny Brown - Atrocity Exhibition(2016)
• John Coltrane - Blue Train(1957)
• Ornette Coleman - The Shape Of Jazz To Come(1959)
• Kill Alters - No Self Helps(2017)


• Nick Mason - Nick Mason's Fictitious Sports(1981)
• Nicolas Gaunin - Hulahula Kane(2021)
• Actors Artificial - Untimeliness & Default Settings(2022)
• Vilhelm Bromander - Aurora(2022)
• Claire Rousay - Sometimes I Feel Like I Have No Friends(2021)
• Paul Dolden - Music Of Another Present Era (Golden Dolden Box Set)(2021)
• Carl Stone - Stolen Car(2020)
• The Tony Williams Lifetime - Emergency!(1969)
• Earl Sweatshirt - Sick!(2022)
• Kill Alters - Armed To The Teeth L.M.O.M.M.(2022)


• Lag OS - Natura Oculta(2021)
• Peter Brötzmann / Fred Van Hove / Han Bennink / Albert Mangelsdorff - Live In Berlin '71(1991)
• Jessica Ackerley / Patrick Shiroishi - Extremities(2020)
• Milan Knizak - Aktual Univerzita(2022)
• desdansá - against music(2022)

New Listens:

Severed Heads - Since The Accident (1983): News that Garry Bradbury had passed away was spreading over the weekend, and it pushed me to listen to some of his work with the band Severed Heads. I hadn't really listened to this band at all, I was only familiar with his solo album "Yakovlevian Torque", a wonderful collection of tunes that manages to keep things feeling instantly musical while it adventures off into various odd directions. If you're entirely unfamiliar with the artist, I would strongly recommend learning from the expert perspective of Paul Gough (aka Pimmon), who had a radio tribute covering a great deal of Bradbury's music, and I'm not sure how long that link will stay online, so act fast! I really enjoyed this album, I wouldn't want to single out anything as specifically belonging to Bradbury since there's a few people credited with tape stuff, I'd run the risk of misattributing something. But this one has some industrial synth tunes that are given a strange and playful energy with all sorts of manipulations of recorded sound happening underneath the surface, sometimes emerging topside. I feel like this kind of connects to some LA Free Music Society stuff in my mental map, though I'll need more time to understand exactly how that makes sense, if it does. Some great music here though, that's for sure.

Parker Sprout - Milk In The Sun (2022): I've really been enjoying my time with the psychedelic bedroom pop on this album. Everything here is trimmed down to the essentials, boosted to the ceiling with various effects. Nothing goes over 3 minutes, and most of it is under 2. There are some institial tracks that trade in the songwriting for some loose sonic weirdness, but I wouldn't call them filler, they have an essential utility in breaking up the expectations as they accumulate. Since the songwriting is all meat/no fat, I think there'd be a risk of it all running together, but the breaks help keep the catchiness catching. And the work on the sound with all the effects isn't just for style points, it feels like it's enhancing and building off of a warmth that exists within the songs already, sort of like how drugs wouldn't work if your brain didn't already have the receptors for them. I'm not a scientist so I don't know if that's actually how it works, but still, very nice music!

Eventless Plot - Apatris (2022): I love so much of what I've heard from this group, but I had a major roadblock with this one. There's this super high frequency, around 19-20 kHz, and it goes imbalanced between the channels in a way that I cannot physically handle. But maybe it's just because I'm a digital listener. This was released on cassette, and I'm pretty sure this sound is beyond the frequency response ceiling for that medium, unless you have one of those fancy audiophile decks. So maybe I should just try to emulate the effect of that medium with an EQ or something (or maybe just actually start listening to tapes)? But at the same time, maybe this is just like a roller coaster that I'm too short to ride. Maybe I'll never have the level of understanding that the people who are tall enough can get, because it does seem like there's something substantial in what these extreme sounds and their movements mean for the music. But perhaps I can get something worked out without losing that characteristic of the music. Even if I never get on the ride, this has been an interesting experience. It had never occurred to me to look at this group's music through a spectrogram, but now it's got me looking at how Anisixia (an album that totally works for me) uses the high frequencies, so that's been very cool and has added some depth to that experience.

Lag OS - Natura Oculta (2021): This is one that I neglected to follow up on last year, and I really should have been on top of it. I caught the previous Lag OS album on Anòmia back in 2018, and I burned that thing into my brain. The sounds were on the abstract side of digital synthesis, but there's a primordial rhythm to it, sort of like the pulse that guides Rashad Becker's Traditional Music Of Notional Species and how that gets used to establish a different evolutionary path for new sound grammar. This one builds off that work and takes away the pulse, showing us what it would look like for a world to be seeded with this new life and left to run for a few billion years. The intro is very deceptive, it gives you a little chiming melody and makes you think "oh this isn't so weird", but then you get dunked in the deep end and it fucking rules. Love it!

Milan Knizak - Aktual Univerzita (2022): I need to actually purchase this one so I can read the liner notes and get some better context for it. I've heard Knizak's classic "Broken Music", with music made from pieced together record fragments, but never heard anything else. There's more to him than just that project though, like what is going on in this video?! It's some wild stuff. But as for the music at hand, the broken music stuff does come into play on the 2nd track, with the Opening Performance Orchestra working from samples from that material. And then that group also provides the music in the first track as well, I guess I need to learn more about their whole deal as well! Even in this state of ignorance, I still have been enjoying this. It has such as explosive start, taking glass shattering, and then exploding the sound itself. It settles into something a little more comfortable, though still in the area of electroacoustics that some may consider difficult (though I think it's relatively quite easy to listen to, at least until the other explosive portions later on). I'm not really engaging with it beyond the level of "hey that sounds cool", but I think once I dig in to the liner notes I can start to get a little deeper with it.

Nick Mason - Nick Mason's Fictitious Sports (1981): Listening to Atrocity Exhibition made me want to finally investigate the source of the sample on "Ain't It Funny", and this thing is pretty far out. I never really got into Pink Floyd (Mason is the drummer), but it doesn't actually matter because the real force driving this music is Carla Bley. These weird jazz-rock songs originated from her, I'm not sure why Mason gets top billing, probably a marketing thing. I'm most enamored with the wild energy on the sample source "Wervin'" and also on opener "Can't Get My Motor To Start", which features multiple vocalists chirping up with automotive troubleshooting ideas, sounding increasingly worried as the track chugs along in fits and starts. But the whole thing is a good time, glad I checked it out!

Actors Artificial - Untimeliness & Default Settings (2022): This one is a great mix of coldly focused rock and electronics, starting off with just guitar and drums establishing a foundational loop, which slowly gets overwhelmed by a complex network of feedback. It builds and builds, but then suddenly the center collapses, and the electronics fully intervene to continue the march. The second half of the album seems to repeat this process, but in reverse. It's so cool to experience, like watching a high quality time-lapse video of the organic decay of a massive object.

Vilhelm Bromander - Aurora (2022): There's so many great subscriptions available on Bandcamp, but in my opinion, one of the best to get on board with is this one for the Warm Winters Ltd. label. They've built up a strong catalog of music that never sacrifices an ounce of personality in the pursuit of beauty, and this album from Bromander is a fine addition. This one is an ensemble primarily featuring saxophone, clarinet and pump organ, though there's a few other instruments in the mix. The sound is warm and intimate, it's like the musicians have come over to play in your living room with the goal of making you cry without ever sounding wholly sad. There's some looseness, and I guess the description even states that half of the musicians are playing with unfamiliar instruments, but I think that's all to the benefit to the music. The feeling is in such a vulnerable position that it could get wiped away with additional polish, and these decisions help keep it attached on the surface. This is a great one, the closer is especially satisfying, don't miss it!

claire rousay - sometimes i feel like i have no friends (2021): This came out in late December, and I got it through another Bandcamp subscription (for Rousay specifically, also highly recommended!), but I waited to check it out because the title seemed heavy and I was already a bit drained from the end of year holiday season. But the piece is more than just that statement. And I feel like I might be spoiling something by going further, so I am going to force you to highlight the rest of this text if you wish to read it: the title line occurs in an opening monologue and it's immediately followed by 'sometimes I feel like I have too many'. I'm taking my time with this piece, and I don't think I have the whole picture yet. But what really catches my eye right now is how the presentation of this music works with the contents of the music to set expectations that the music can later subvert. The only way to legitimately get the music is through Bandcamp, and when you load up the page you're immediately presented with the lyrics of that opening monologue. You could start the track up and read the whole thing before it even gets going. That's what I did. And then, as it was playing, I pieced together that the album art is probably the view from a bedroom window, which made me view the text as an anxious mind wandering around the doubts that can appear in connections with others, and around the ability to be ok with yourself. And then the speech actually begins, and the synth drone backing pushes that anxiety in the text and reinforces the sense that this feeling would never end. But then when it gets to the conclusion point, with Rousay asking whether she is going to be enough for herself, whether she will be able to hold her own hand through to the end, the constancy breaks and we get the guest contribution of Mari Maurice on violin, and all the sadness melts away, and it's like the beauty of connection with others becomes accessible just from starting that dialog with the self. So maybe this is less heavy than I had anticipated, though I feel like there's still more that I need to learn about it. Stellar stuff, very much worth checking out!

Earl Sweatshirt - Sick! (2022): I didn't catch the joke of the line “Caught a feeling, mama had me out in Temple / Not religious we was really out in Philly” until I read this review on Passion of the Weiss, there's a lot of lyrical talent that goes over my head with Earl. So you should go read reviews like that one to get a better look at what makes this music special. But even without that perspective, I still get a lot out of this music. It's so entertaining to hear what he does with his voice on tracks like "Tabula Rase", the pitch drops when he gets to 'these days'/'delays'/'freeze frame' and how that works with the tone of the rest of the lyrics, it's so musically satisfying to hear it happen. There's so much of that satisfaction to be found in what he does, it's fantastic work.

Peter Brötzmann / Fred Van Hove / Han Bennink / Albert Mangelsdorff - Live In Berlin '71 (1991): After news of Fred Van Hove's passing, I saw some discussion about this album in a chat room, so I figured I'd check it out. He's a figure that I've not really got much experience with, I've checked out some of the stuff with Brötzmann that gets high praise, but I could never find that type of appreciation for myself. But I think this might just be the one that makes this European free improvisation scene make sense to me. I'm taking it slow with this one (it's two CDs), so I don't think I have anything meaningful to say about the music just yet, except for that it is great. I'm not sure if there has been any in-depth rememberances of Van Hove in English, but this one from Lies Steppe is still touching even when machine-translated from Dutch.

Jessica Ackerley / Patrick Shiroishi - Extremities (2020): Here's another album I picked up from the Notice Recordings sale, along with the Haptic album I heard last week. This one starts off with the players rapidly interlocked for the first two tracks, moving like they're race cars staying neck and neck. Like it made me think of this Amon Tobin music video with a race car, made by the guy who did the Gantz Graf music video, but then I went back and watched it on mute with this as the soundtrack, and the visuals didn't really live up to my memory of the speed. So it's possible that this music takes the form of an even better speeding object. But then after the openers, they dismantle the momentum and give time some space, before building back with a different kind of power. There's so much I still need to understand with this (like what exactly is happening with Shiroishi right around 6:50 and 7:20 in Bulderdash, it sounds cool and is so well integrated), but that lack of understanding is no barrier to the joys of this music.

Additional Thoughts:

I'm not sure how I feel about this habit of mine, where I listen to an album I've never heard from artists who have recently passed away. It's important that I hear this music, they're always people that I should know more from. But there is something about the way that these artists become most visible to me in their death, it unsettles me. But it's also beautiful to see people share the music that meant something to them from an artist who has recently passed, I want to see what they're putting out there. I don't think I'm doing anything egregious, like it'd be fucked up if I was trying to use these beginner experiences to claim the personal significance of long time fans for myself. Maybe I just need to avoid going shallow with it, make sure that I don't just leave it in this moment, and continue to build an appreciation for their work outside of these times. It's something I'll need to keep thinking about, because it's going to keep happening.

Still figuring out how to balance the work on this project, I only covered the new listens for this week since I'm already falling further behind. But I'll be getting some of the repeats featured in the coming weeks, stay tuned!

Week In Review, 1/1-1/7/22


This year is going to be different. Rather than attempting to write about all of the new music, I'm going to try to write about all of the music. Or at least the stuff that I listen to. Whether it's a ridiculously large multi disc album, or just a little 7 inch, I'm logging it, and sharing the full list for each week. Basically it'll be everything that's bigger than one song, because I hear too many of them by accident and could never actually keep track. This way, I stay focused on my deliberate actions. I'll be writing something about everything that was new to me, and some of the repeats, although this first edition will be a little light on the latter.

I'm already running behind on this project, it has been two weeks since the time being covered here. But I intend to get things caught up and closer to the moment being documented. And I'm not sure if I've figured out how to create the best possible reading experience for this kind of thing, but I'll figure it out as I go.

First time listens are listed in bold.


• Haptic - Weird Undying Annihilation (2021)


• Sonny Rollins - Saxophone Colossus (1957)
• Cardiacs - Sing To God (1996)


• Ahmad Jamal - Happy Moods (1960)
• John Coltrane - Blue Train (1957)
• Dominic Cole - Everyone Thinks Their Dreams Are Interesting (2021)


• Tomutonttu - Seikkailun Tuoksu (2021)
• Foodman - Yasuragi Land (2021)
• Mariá Portugal - EROSÃO (2021)
• Aga Ujma - Songs Of Innocence And Experience (2021)
• Miles Davis - In A Silent Way (1969)
• The Tony Williams Lifetime - Emergency! (1969)
• Swirlies - They Spent Their Wild Youthful Days In The Glittering World Of The Salons (1996)
• L'Rain - Fatigue (2021)
• Oï les Ox - Crooner Qui Coule Sous Les Clous (2020)


• Haptic - Weird Undying Annihilation (2021)
• Kill Alters - Armed To The Teeth L.M.O.M.M. (2022)
• 食中毒センター/Shokuchudoku Center (Food Poison Center) - Hakimakuri Olympic (2021)
• Various Artists - Sounds Of Pamoja (2021)
• Minced Oath - Superstrate (2021)
• Uwalmassa - Malar (2022)


• Burial - Antidawn EP (2022)
• Max Tundra - Some Best Friend You Turned Out To Be (2000)
• David Kanaga - Operaism (2017)
• Jlin - Embryo (2021)
• Black Dice - Mod Prog Sic (2021)
• Uwalmassa - Malar (2022)
• Mariá Portugal - EROSÃO (2021)
• Jason Nazary - Spring Collection (2021)
• Kill Alters - Armed To The Teeth L.M.O.M.M. (2022)
• Rojin Sharafi - Kariz (2021)
• NYZ - YRACDHI (2022)
• Circulatory System - Circulatory System (2001)


• Finlay Clark / Aga Ujma / Max Syedtollan - Preparations (2022)
• MonoLogue - Alice (2022)
• desdansá - against music (2022)
• Dominic Cole - Everyone Thinks Their Dreams Are Interesting (2021)
• Paul Dolden - Music Of Another Present Era (Golden Dolden Box Set) (2021)
• Kill Alters - Armed To The Teeth L.M.O.M.M. (2022)
• Joe Zawinul - Zawinul (1971)
• Marta Forsberg - Light Colours In Jyderup (2021)
• Kara-Lis Coverdale - Grafts (2017)

New Listens & Selected Repeats:

Haptic - Weird Undying Annihilation (2021): I started my year with a great decision, with the latest from Haptic (the trio of Steven Hess, Joseph Clayton Mills, and Adam Sonderberg), played just before falling asleep. I had been seeing the album pop up on some individual end of year lists that were otherwise full of known delights, so when the label that put this out (Notice Recordings) announced they were running a sale, it felt like an easy decision to give it a blind purchase. I didn't have any experience with the trio as a whole, but I consider Mills' album The Process with Marvin Tate to be an all-time great, so there was some existing affinity. I was rolling the dice on whether it would work in the hypnagogic state, but it was the perfect time! It's a slow music, full of sounds with a roughed-up fidelity that sponge up the saturation of the relatively cleaner sounding components, so that nothing is too colorful for tired eyes. The official description for the album says that they were going for a steadicam type of feel, long fluid shots with drawn out zooms. The specifics of how they accomplish this will have to reveal themselves to me later, but whatever they were doing, it was absolutely working for me here.

Cardiacs - Sing To God (1996): After I woke up on Saturday, I was having some minor issues with my right ear, so I wasn't listening to much of anything (though I did eventually get some mono 50's jazz in the left). The situation improved by Sunday evening, so I listened to this Cardiacs album with my wife. It was actually my first time going through the whole thing, though she had already made sure that I'd heard some of the tracks ahead of time. I'm so glad that I had her with me on the journey, because this dense and twitchy carnival prog is totally the kind of thing that I want to hear, because I was a bit intimidated by the length and reputation, but getting to share the experience with a loved one is like the ultimate cheat code for getting in the door. Like sometimes there's bands who I can recognize are great, and on an intellectual level I can see that I should have an affinity for them, but I just can't make them make sense in my life on my own. But this experience ignited something, and the place has been made! I think it also helped that I was going through this issue with my ear, listening to so little music. And then along comes this album, jam-packed with so much music. Love it when the right time finally arrives!

John Coltrane - Blue Train (1957): My ear issue wasn't fully resolved, but I was still hungry for some tunes, so I went back to the mono mindset and browsed thru some 50's jazz. Of course, I still had to set my phone's accessibility settings to mono because this was a stereo remaster, but I feel like it's better to do that to music that was originally intended for mono. In spite of the less-than-ideal circumstances, I still was glad to check this out. There's so many classics that I've never gotten around to hearing, it was about time I heard this one. I'm still at a point where I'm hearing the genre more than the music, like I can't really say much in the way of specifics just yet. One thing that stood out to me was the trombone by Curtis Fuller, particularly on the track "Moment's Notice", where everyone else takes their moment with a flurry of notes, but then Fuller comes in and leaves so much space. There's something I find hilarious about that, in a way that plays into how fun the overall tune is. I was having a great time with it. But then I read the top rated 5 star review of the album on Rate Your Music from someone who probably listens to more jazz than me, and they specifically called out this part with Fuller as an old-timey blemish on an otherwise flawless album. So I probably have more to understand about what makes this album so widely significant to other people, but I feel like I'm always going to think that part is cool.

Dominic Cole - Everyone Thinks Their Dreams Are Interesting (2021): My ear issue was resolved, and I was ready for something bold and adventurous, and this one seemed like it would fit the bill (it did, I have fantastic instincts). This album has a really interesting take on what it means for music to be dreamlike. I'm not exactly an expert on dreaming, I'm in a state where cannabis is legal, which means I don't remember having dreams most of the time. But the ones that I can remember never had any reverb, so I've never felt like the "dream" genres had anything to do with the activity. This music is on the extreme side of synthesis, with lots of sounds around the high end of frequency perception. So it's not like it has the "correct dream aesthetic" either. But it's in the use of continuity breaks where it feels like it's capturing something real about the dream process. The audio is generated based on the recitation of dreams (helpfully included as the track titles), and then that gets fed into whatever sound generating machines are being used. But there's these abrupt shifts in the outputs, the rules that govern what happens to the input have jumped to a new position, as though key parts of the narrative that connect scene A to scene B have been removed. But the momentum stays entirely unaffected, and everything stays making complete sense. This feels like the experience I would get if I could actually watch a recording of my dreams. Fascinating stuff, I'm very glad that I didn't miss this one.

Tomutonttu - Seikkailun Tuoksu (2021): The playful electronic music that Jan Anderzén has been cooking up since Kemialliset Ystävät's 2014 album Alas Rattoisaa Virtaa has been a total joy to witness, but this new single was the first time I ever connected what he was doing to the work of Foodman. I think it's this track Varpaat in particular, it totally feels like a less grid-driven cousin of Yasuragi Land to me. Love it!

The Tony Williams Lifetime - Emergency! (1969): I take part in a weekly album club, and the pick for this week was In A Silent Way. I struggle with finding something to say about classic albums, like I don't want to just say "it's a classic!" as though I'm upholding a tradition, I want to get specific. But so many of the specifics have already been covered, thoroughly, by people who know way more than me about the subject. I decided to go exploring something from the album's personnel. It just so happened to be John McLaughlin's birthday, so I looked through his credits, and this one (led by fellow Silent Way contributor Tony Williams) jumped out at me. It seemed like one of those ones I should've heard by now but haven't. It didn't really help me with figuring out what to say about the club pick, but I am so glad I decided to take this for a spin. It's got this lightly fried amplification on the guitar and organ (by Larry Young!) that beautifully compliments the high energy shredding bits. "Via The Spectrum Road" is a track that's going to stick with me for sure, the way it goes between the vocals on the slow groove and then blasts off with the wilder portions, that's a great time!

Kill Alters - Armed To The Teeth L.M.O.M.M. (2022): This album doesn't come out until February 11th, but I've got an early preview copy, and I can't get enough of it! This band has been around since 2015, sprouting from an archive of tapes recorded by Bonnie Baxter's mother, who was living with OCD and Tourette's Syndrome. The recordings ranged from prepared skits to raw, unfiltered moments, and sometimes even featured a young Baxter herself. For the first outing, it was just Baxter solo, taking samples from the archive and building out full songs with electronics and her own singing. The material was pretty dark, but eventually the band was expanded to include Hisham Bharoocha and Nico Kennedy, with a stated goal of finding the light. The first release from the full band was No Self Helps, and the sound brightened, but it wasn't like the murk and distortion disappeared, it's more like all the clearer portions of the sound were isolated and made slightly louder than the rest. This did not mean that the songs lacked power, the drums still hit hard, and Baxter's vocal performances weren't holding anything back. But it did mean that jumping into the lower fidelity of the archive recordings was a bit of an adjustment. But I don't get a sense of a dominant fidelity in this new album. A big part of that is with the vocals, there's different performances of the same lyrics stacked up, with drastically different approaches to technique and recording quality happening simultaneously. They make room for so much possibility, which allows for some of the deepest integration of the tape archive into the core of the songs that the project has ever had. I don't want to go too in depth here yet, I'll do that closer to the release date. But for now I'll just say that I think this is an incredible realization of the unique potential of this project, and I am already certain it will be a highlight of my year.

Uwalmassa - Malar (2022): I'll have more opportunities to talk about this one later, I've been listening to this one a lot as well. So for now I'll just say that anyone who is like me and loves to hear electronic music that explores drums as a pitch delivery system in conjunction with complex rhythmic arrangements: you absolutely need to hear this.

Burial - Antidawn EP (2022): I did not feel interested in this one while listening, but I don't think that's a reflection of the music's quality. I might end up feeling any kind of way about it in the future, but I've got nothing this time.

NYZ - YRACDHI (2022): This is an exclusive that just came out for the Bandcamp subscription that David Burraston has going. You may know him from that highly in-depth interview with Aphex Twin from 2014, but since that time, he's also been building quite the large discography that go deep into some of the coolest music machines. On the one hand it can feel like some laboratory electronics, like it's happening in a totally sterile environment. But there's still an artistic personality, it just happens to have high levels of knowledge and curiosity about synthesis and machines. But there's plenty more than that, like a great sense of humor. This one's a 20 minute ride with the Yamaha FS1R, a rack mount synth introduced in 1998 that was quickly rejected by consumers for being way too hard to use. In addition to the machine's powerful FM synthesis that has already featured on previous NYZ releases, it also has some strong formant synthesis capabilities. And that is on display here on this piece, a string of complex percussive robo-babbling, directed by the MANIAC cellular automata sequencer. That may sound like it could be cold and impersonal, but there's a joke in it. All that you can understand from voice is "A" and "I". Ironically, I think that goes a long way towards maintaining awareness of the human at the other end of this music. I wouldn't say that this is an essential major work in the whole discography, but it's still a delightful treat for the faithful.

Late Works - Preparations (2022): This one was brought to my attention via e-mail, I saw Max Syedtollan was involved, and I had just recently been writing about my intention to hear everything from him. Great timing! This is a collection of three separate works for prepared piano, all utilizing the same set of sculptures to place on/in the strings. The first performance comes from Finlay Clark, from Still House Plants (great band!), and then the other piece was from someone new to me, Aga Ujma (I've followed up on her work and it is phenomenal, more on that later). The page for this on Cafe OTO's site goes in depth with some great background information about the different setups for each piece, but even if you don't have that, the distinctions between each performer is readily audible. Clark has these moments with big waves of sound, using a dulled color ringing out to strike a contrast with some crystal clear metallic harpsichord type of sounds, in a way that seems to boost their vibrancy. But when those kinds of sharp textures pop up in Ujma's piece, they're punchier and more percussive, serving as punctuation rather than working in the overlap. Or sometimes it's more like the entire music will momentarily move into the sound, like it's a distortion rather than it's own independent thing. And there's also a really distinct fuzziness from £10 woven between some of the strings, it's really great to have in the mix. For all the differences between these two pieces, there's still a similar approach to an emotional landscape that soars into the mountains and falls into valleys, but Syedtollan's piece goes in a different direction. Less concerned with scale, it makes a home in the nervous energy of these distressed strings, fully oriented towards the horizontal power of sustained tension. It's a fantastic collection, not to be missed!

MonoLogue - Alice (2022): I only found out about MonoLogue last year, from the set of three releases that presented her own take on an abstract GRM kind of sound, very cool stuff. But this new release goes in a much different direction. It's aimed at celebrating 150 years of Alice Through the Looking-Glass, though with a much different spirit than the technicolor Disney adaptation, this is more like the world is rendered as a cyanotype. There's a lot of stability in the color and form of the lead synths, and the unusual attributes of the world come from these hazy atmospherics that distort the edges. I think it's a pretty clever way of capturing how peculiar it would feel to enter the world of this book, keeping the focus on the stable element rather than the wackier aspects of the world (I'm guessing that's why this is called Alice and not Wonderland). I'm digging this direction, very glad to see that this side of things is as cool as the rest.

desdansá - against music (2022): Maybe it's because I've been climbing a lot of mountains in Breath of the Wild, but I was inclined to read the opening track on this album as a sonification of a cliff face. I'm unfamiliar with the artist, but I've been starting to pay closer attention to this relatively new label, 時の崖_tokinogake. They've been going for a year and I kept on slacking about checking them out, but they're operating in one of the far out experimental electronics area that I enjoy, so I've been catching up with what they've been doing lately. The specific techniques described on the album page feel like they line up with how I saw it, how it talks about "the interaction of digital synthesis with convolution -- used in stacks, both as filtering and as reverb -- where the rhythmic and harmonic content of the synthesizer would interact and resonate with the samples selected for convolution, creating unexpected rhythms, resonances and dissonances". That sounds like it'd end up like a complex feature of nature turned into music. But as the album goes along, there are some clearer compositional decisions being made, the hand of the author becomes more visible. It's compelling stuff, I'm looking forward to finding out more about desdansá's music and digging in further to this label.

Joe Zawinul - Zawinul (1971): So I was still at a loss for what to say for this album club regarding In A Silent Way. I figured a good way to get something out of me would be to check out this album from Zawinul, since he is the one who composed the title track, and has his own version on here. I guess he was unhappy with the reductions that happened on the Davis album, but I have to say, hearing his version made me incredibly grateful for the simplifications that were made. So this was helpful for me, because I was able to contrast the two, and talk about how hearing this version made me appreciate the way that the Davis version was able to reach something sublime by holding the piece in one place and allowing people to drift into focus. But I don't think this Zawinul album will have a place for me beyond that.

Additional Thoughts:

It may look like I didn't listen to as much music on Wednesday as the days around it, but that's because I was in a private room on https://pubby.club/, the latest in a long line of websites that allow people to take turns playing songs at each other. The interface can take some getting used to, but it is worth the effort. I got to make sure that some friends heard songs I wanted them to hear, and in turn I got to hear a bunch of exciting music that I would be unlikely to find on my own. A good session on a site like this is one of the best things you can do online.

All in all, this is a pretty great start to the year! I like that I'm getting back into some very high density repetitions, I've been a lot less focused in my listening and haven't been letting anything get into the kind of frequency that's happening with the Kill Alters and Uwalmassa albums. I don't think it matters that much for how an appreciation for an album gets built, but it's nice when music can claim a set time, like I could look back at this time and go "oh that's when I was really going in heavy with those two albums", it's harder to do that when the repetitions are too spread out. We'll see how that holds up as we get further into the year.

Recent Releases: November 5th


So I fell behind on posting my updates again. But maybe I did it on purpose, and deliberately timed this to come out while everyone's talking about the best music of the year, because I knew that the great stuff from November and onwards would not get as much attention as they should. Or maybe I just had writer's block, who can say! It could even be some unknown third possibility, so lets just stop pondering and take a look at all the music that caught my eye in the beginning of November.

November 5th, 2021

Aastiage - 1996 - 2000 (Zabte Sote)

Ilai Ashdot - MAXIMAL LIFE (Orange Milk)

Mira Calix - absent origin (Warp)

Chrisman - Ku Mwezi (Hakuna Kulala)

Sarah Davachi & Sean McCann - Mother of Pearl (Recital)

Eat Avery's Bones - Instrument Petting Zoo (Decoherence Records)

JJJJJerome Ellis - The Clearing (NNA Tapes)

France Jobin - | Ψ〉= 3/5 i |↑〉+ 4/5|↓〉 (Self Released)

Darius Jones - Raw Demoon Alchemy (A Lone Operation) (Northern Spy)

Jason Kahn / Jon Mueller / Greg Davis - Green Door (Self Released)

Alison Knowles - Sounds from the Book of Bean (Recital)

Low Life - From Squats To Lots: The Agony And XTC Of Low Life (A L T E R)

model home - both feet en th infinite (Don Giovanni)

RAY - Another Sand (wagtail)

Marina Rosenfeld - Index (Room40)

Max Syedtollan / Plus-Minus Ensemble - Four Assignments (& Other Pieces) (GLARC)

Alex Twomey - Days Off (Recital)

Two Nice Catholic Boys with Kalliope Lino - Gummy Pairs (Self Released)

ZAÄAR - Magická Džungl’a (I, Voidhanger Records)

I made a quick mention of that Model Home album in a previous post, but just to reiterate, they really are not to be missed. The duo has a lot of releases under their belt, many that I haven't heard, but everything I've come in contact with has left a strong impression. The components seem straightforward enough; you have NappyNappa on voice and vocal effects, and p cain fills out the rest of the sound with some electronics, and some occassional saxophone. That was how the credits went on the collaboration with Saint Abdullah on PTP from earlier this year, which by the way was one of the strangest and most cherished musical experiences of my 2021. This one isn't quite so abstractly heady, the duo are joined by Andrew Field-Pickering (aka Dolo Percussion/Max D, from Lifted) on all tracks, and guests like Luke Stewart pop up a few times with additional contributions to the central groove, giving an easy way into the music via listening with your body. But that hasn't reduced any of the potency of their psychedelic transformations. In fact, I'd say it's even stronger here, like the chemistry between the members is more visibly reactive when placed within these rhythms. When Ultra Dogme asked me to send over some thoughts on 3 songs from the year, it was a no-brainer for me to say something about 3d Printed Quinoa. That song is just the best. There's so much more that I still need to figure out how to say about this album, but you shouldn't wait for me to figure that out! Just go listen now!

You've also got this new one from Mira Calix, who has put out some strange albums on Warp, going all the way back to the year 2000. I've always been struck by the way the bass in her music sits against the more immediately visible parts of the spectrum, when that gets combined with her uneasy rhythms, it's like being seasick but then also having an out of body experience so that you can simply be an audience to the ballet in your stomach and not feel all the bad parts. Very cool, and now she's doing stuff with collage, getting rigorous and thoughtful about incorporating the practice from the sounds of this interview. I think I'll need to really live with this one before I can go deep with it, but I know enough to recommend it, at the very least. There's also RAY, the trio of Ashley Paul, Yoni Silver, and Otto Willberg. The band name is taken from the title of Paul's 2020 album (sort of like what happened with Good Sad Happy Bad), and this recording (taken from a live performance at Cafe OTO) mostly is just expanding on a few of the songs that were on there, it's not wholly new. But I thought that album was one of 2020's finest, somehow simultaneously embodying the crumbly nature of a dried leaf and also a warm summer breeze, it's a really peculiar sound, and I am very glad that it's continuing.

There's plenty of artists that are brand new to me here as well. This JJJJJerome Ellis album is quite the singular experience, I'll need to really get into it at a later date but you should check out this interview with Kadish Morris for The Guardian. There's a lot of music that does great things with allowing you to truly see who the artist is, but hearing the way Ellis puts his experience with stuttering into this, like it doesn't strike me as fitting into a lot of the aural semiotics of intimacy, but I feel like I've seen him through what he's done on this album.

As far as other new faces go, there's this Ilai Ashdot album on Orange Milk. This appears to be a similar situation as with the NTsKi album, where an artist has just been out there for a few years, building up a collection of superbly produced electronic pop music, and then OM comes in and helps the album get out into the world. So I gotta tip my hat to their talent scouting abilities, they're frequently bringing some great introductions. I've seen this one get called hyperpop, but that always makes me think of a speedy sugar rush, but the pace here always feels reasonable. I guess it's more like the hyper in hypersaturated, the sense of extremes. It kind of reminds me of the scale and drama of Tim Exile's Listening Tree. There's quite a few differences, most notably how this one is a bit sunnier than Exile's night/goth vibe, but I feel like there's some kind of overlapping vibe. The important takeaway here is that it's good stuff! Elsewhere, there's this new one from Eat Avery's Bones, I've never heard them but they've got a bunch of members from Gay Cum Daddies, and I really like the noise rock I've heard from that band. It reminds me of all the times that I'll be enjoying a new song, but then I realize I accidentally opened two different songs or two instances of the same song at almost the exact same time. Except they did it on purpose. I have no idea what this new band sounds like but I'm sure it'll be cool. There's also this ZAÄAR album, I didn't have any particular existing reason to be interested in this one, but I liked the cover. It's a detailed painting of weird animals that have tiny heads. I guess the label is well regarded, and the band Neptunian Maximalism has some kind of affiliation with them, I remember seeing them gain some acclaim online (but I still haven't heard any of it). I'm still not sure how to talk about this music from ZAÄAR, but I like it!

There was also this Max Syedtollan / Plus-Minus Ensemble album that happened to catch my eye, because it featured some kind of essay from Neil Luck, but I guess it's only on the physical copy, so I haven't read it or anything like that. And then there's also the fact that the Plus-Minus Ensemble should have already been on my radar, since they did great work on Cassandra Miller's Songs About Singing, and feature many of the Another Timbre all-stars. And I guess this GLARC label has some kind of connection to Still House Plants? I don't know, but I need to do more investigating, because this is absolutely the kind of musical surprise that I love to hear. The title track starts out with an unusual approach to sing-speech vocals, but it felt intuitively understandable, like the boundaries of what it was doing were readily apparent. But it goes on quite a journey, with the accompaniment from the ensemble pushing the severity of all the twists and turns. The boundaries get stomped, my expectations are left in tatters, it's a great outcome. I think I will need to hear everything that Syedtollan does now.

This new batch of music on Recital also seems really cool. They've got this archival reissue of an impossibly rare tape from Alison Knowles, with music sourced from recordings of the creation of an 8 foot tall book, and then also some other stuff involving beans. This label is a fitting home, as she was a founding member of the fluxus art movement, and their spirit continues to ripple outward through the beautifuly humorous home-cooked oddities from many of the label's contemporary releases. There's also something from Alex Twomey, he was a part of that great Saturday Night album with Sean McCann and Matthew Sullivan. Though his 2019 album The Entertainer is probably more relevant here, with that whole directly melodic showing up again on this new one. And then there's also the collaboration between McCann and Sarah Davachi, I'm planning on buying the album when I make my next round of purchases, so I haven't really heard any of it yet, but those two have delivered a lot of fantastic music so I think they've earned the blind buy. But that does mean I can't really tell you about it. If you want to know why I'm convinced, just go listen to Puck and Let Night Come On Bells End The Day.

And then there's all that stuff I didn't talk about! That's all worth a look as well, and I'd like to come back and give all of this some dedicated attention. But also, it turns out that there was a whole bunch of music that I only found out about after it came out!

Wendy Eisenberg - Bent Ring (Dear Life Records)

Fuubutsushi - Shiki (cachedmedia)

Hikaru Yamada - Live at Ftarri, October 4, 2021 (Ftarri Live)

Kassel Jaeger - Fragments IV: Collected Waves from Surrogate Memories (Self Released)

Loraine James - Wrong Name EP (Self Released)

knd - Live at Ftarri, April 24 and August 22, 2021 (Ftarri Live)

Mary Lattimore & Growing - Gainer (Self Released)

Masatake Abe / Yoshiki Ichihara - Live at Ftarri, October 3, 2021 (Ftarri Live)

Jim O'Rourke - Steamroom 56 (Self Released)

Rojin Sharafi - Kariz (Ventil Records)

Yoshiki Ichihara - Live at Ftarri, June 13 and August 22, 2021 (Ftarri Live)

I can't believe a new one from Rojin Sharafi came out without me noticing! Her album from 2019, Urns Waiting To Be Fed, was one of the most striking debuts of recent memory, there's this uncanny mixture of physical instruments with complex synthesis that's integral to achieving this sort of cramped uncertainty in the compositions, like all of the aspects are enhancing each other. And then last year's Zangaar brought vocals into the mix, and while I can't understand the language, they're used to push into more rhythmic certainty, broadening the dynamic range between urgency and calm. And now we have this album, which goes back to the purely instrumental realm, but features some really peculiar drum machine work that continues developing the role of rhythm in all of this. I plan on living with this music for a bit before trying to really get into it, but for now I'll just say that I continue to be amazed by what Sharafi is doing, and consider her work to be some of the most vital electronic music happening right now, and that people need to be paying attention. If you've been a fan of the Exai/Elseq/NTS Session era of Autechre, I think this new album is a particularly good starting point!

There's some stuff here that I should be on top of, like this Fuubutsushi compilation. I don't know what took me so long, but the music that Chris Jusell, Chaz Prymek, Matthew Sage, and Patrick Shiroishi have produced here makes me want to read more about how to talk about beauty. I'll have more to say when I do that! Then there's this new one from Wendy Eisenberg, I'm still getting caught up with all of her varied musical pursuits, but I still want to be keeping track of anything new as well. This sounds a lot different from the harmolodic shredding she was doing on the Strictly Missionary album in October. This one is banjo-led songwriting, I've only heard a couple of songs off of it but these sound like some top shelf compositions! Very excited to hear the rest. And then there was this Loraine James EP that was only up for a week and is now no longer available through official channels. Each track is a different misspelling of her name, which means that now when people commit the mistake on Youtube or Soulseek, they can learn from the error! They'll get some good tunes too, like it's not meant to have that polished 'major statement' kind of vibe of the album material, but even when she's going low key, James still brings the intricacy, like with the bass on that last track. So good! Another one that felt like it came out of nowhere was this Mary Lattimore & Growing collaboration. It's an intriguing pairing, having Lattimore's harp alongside whatever machine Growing uses to turn guitars into physical colors, I need to give it a close listen but I like what I'm hearing. And in further surprises, there was Kassel Jaeger with another entry in his Fragments series. I got the first one back when it came out and wasn't really sure what to make of it, but I guess subsequent volumes have included a description explaining that the tracks have been recorded with the intent of using them as a part of something bigger, before letting them go off and be their own thing here.

And then this one isn't really a surprise, not exactly, because it's the 56th volume, but Jim O'Rourke is back with another Steamroom. I love O'Rourke but I do not catch anywhere near as many of these as I should. I really do want to fix that. This time next year, I'm going to have way more Steamroom experience, just you wait. Also, a bunch of live recordings from Ftarri came out, some of it seems like it might be too extreme for me right now, like that knd one. I'm very intrigued, but I don't think I can pull off that kind of listening until things settle down a bit. I'm hopeful that the right time will come soon.

I'll have more to say about the rest of November in the near future, but in the meantime, you can just go check the anticipation list and get a preview of what I'll be talking about, go ahead and listen to some stuff before I even say anything about it.

End of Year Charts (so far!)


I'll get back to taking a look at new and recent releases soon, but I thought since the year is starting to come to a close, I should let you all take a look at how my end of year charts are shaping up. These aren't final, some of it might shift around a bit (especially towards the end), but here's where I'm at right now.

This chart is showing how long it took me to come back for another listen of a full album/ep/anything bigger than one song. So when I revisit something within one day, the chart shows that deep red. And then yellow if it was within a week, pink shows up within a month, blue within a half year, and then the deep green for anything longer than that. I've been pretty diffuse this year! Not very much of that deep red at all, and there's a few stretches there where there wasn't anything coming back around in the span of a week. Part of this is because this measurement is focused on full releases, so it's missing the times when I would only be returning to a song, but I don't think that would really change the picture that much. I do think there is some value in giving space to think about the music without immediately going back to the recording, to let it live as a memory for a bit. But I'd probably benefit from some greater focus!

I've always been a bit contemporarily-minded, but I think that doing this website and looking at so much new music can set my feet a little too firmly planted in the present. This chart looks at what I was listening to, and groups each listen by the year I first encountered it. So all that magenta is stuff that I only heard this year, and ever since June, it has been an especially strong presence. Though my past does still make a pretty strong showing there up until September, that's when it all gets very 2021-centric. But in my defense, people keep releasing great music. I did want to make an effort this year to avoid any sort of temporal quarantine, since I kind of did that last year. 2020 had a lot of days where I basically treated the now as if it were all that existed, and that didn't happen so much with the current year. So I guess this is a step in the right direction, but I feel like I'll have an even better time if this looks different next year. I think it's good to draw connections across time instead of bunching them all up together, it's something I want to do more of.

One thing I'm not entirely sure on is whether 2021 has really been a magenta kind of year. I picked that color at the beginning of the year, but now that it's all mostly played out, I'm not so sure if that is really the one.

This chart takes the release year of what I listened to in the day and then averages it out. I guess it's just another way of telling the same story as above, which is that people keep releasing great music. There's a lot of time where that line is just completely maxed out to the top. Maybe it's not super important to always contextualize the new music with my own past, but it would probably be good to put the newly recorded music next to some music from the past. I need to carve out more time for significant explorations of older sounds. Though it's strange, I think maybe I begin to feel a bit trapped by the limitations of the past, like maybe there's a (somewhat false) notion that there are no boundaries on what the present can be, not until the future arrives and closes the book on it. So I just need to figure out how to best get over that nonsense!

There's a lot more ways to look at all of this, but I might as well let the year finish before going any further in-depth than this. Who knows what December could bring!

Also, I want to give a big thanks to anyone who's already sharing lists of music from the year. I've been finding out about cool stuff from them! If you're looking for anything like that from me, you should just go check out my anticipation list. Lots of good stuff on there!

Recent Releases: October 29th, and November 1st and 4th


Happy November to you! I'd meant to share this overview of the releases from the end of October and on into this week, but I guess I'm just in time for this to function as a reminder for any Friday shoppers.

October 29th, 2021

American Cream Band - Dark Hemisphere (Moon Glyph)

Artifacts: Nicole Mitchell, Tomeka Reid, Mike Reed - ...and then there's this (Astral Spirits)

David Behrman - ViewFinder / Hide & Seek (Black Truffle)

Bitchin Bajas - Switched On Ra (Drag City)

Kyle Bruckmann - Mesmerics/Hindsight B (Infrequent Seams)

Bex Burch & Leafcutter John - Boing! (Vula Viel Records)

Dear Laika - Pluperfect Mind (NNA Tapes)

Robin Hatch - T.O.N.T.O. (Robin Records)

Ross Goldstein - Chutes and Ladders (Odd Cat)

Lily Konigsberg - Lily We Need To Talk Now (Wharf Cat Records)

Lotic - Water (Houndstooth)

PG Six & Louise Bock - All Summer Long is Gone (Feeding Tube Records)

Christopher Parker & the Band of Guardian Angels - Soul Food (Mahakala Music)

William Parker & Patricia Nicholson - No Joke! (ESP-Disk')

Patrick Shiroishi - Hidemi (American Dreams)

SiP/Prezzano - SiP/Prezzano (Moon Glyph)

Strictly Missionary - Heisse Scheisse (Astral Spirits)

WESQK COAST - Clava (OOH-sounds)

November 1st, 2021

Aldo Clementi / Kathryn Williams / Joe Richards / Mira Benjamin / Mark Knoop - Canoni circolari (All That Dust)

Angharad Davies - gwneud a gwneud eto / do and do again (All That Dust)

Evan Johnson / Ben Smith - lists, little stars (All That Dust)

November 4th, 2021

Martyna Basta - Making Eye Contact With Solitude (Warm Winters Ltd.)

Nick Malkin - Nothing Blues (Mondoj)

This Patrick Shiroishi album is absolutely essential. There's a lot that needs to be covered with why this specific music exists, you can read more on that at A Closer Listen, but for now I just really want to emphasize that the construction of this music makes me think it is really quite accessible. There's material on this album where I want to say it's using hockets, although I'm not sure if I'm using the term correctly (I tried to use Google to see if anyone else was using the term for this music, but I couldn't find anyone, so I'm just gonna go out a limb here and say it), it's like there's different instrumental recordings that are given their own distinct position in the stereo image, and each one will only be giving a portion of the melody, like there's some engagement required in putting it all together, but the stereo imaging set-up makes the process all feel very intuitive. This is just one quality of the music, but I think it's a good example of the way that this music hits that sweet spot of combining ambition with immediacy. It will be one of my first choices if I ever have to recommend music for someone who wasn't engaged with new music this year.

There's so much other great stuff here too, like these new ones on Astral Spirits. The album from Strictly Missionary features Wendy Eisenberg and gets into something that's like a noisier version of the harmolodic party line that Ornette Coleman and Prime Time had going. I've only had the one listen with it, so there's probably more to it than that, but that's the aspect that guarantees I'll be back for more. I haven't heard the Artifacts album yet, but I'm not going to miss that lineup.

Another label with a double dose was Moon Glyph, with the albums from American Cream Band and SiP/Prezzano. Parts of the first one kind of remind me of Flying Saucer Attack with a lot of the parameters turned down, like it's not noisy at all but there's still something that takes my mind to a similar place. But then there's also stuff that doesn't at all sound like that, so it's one I'll need to live with some more to really talk about. And then this SiP/Prezzano makes me think of a total chroma focus, like a charming cartoon had its outlines pulled out and everything's spilling, but it's still maintaining that initial charm. That may not be entirely "accurate", the sound isn't all a blur, but I feel like the image captures the spirit of where I'm at with it.

And there's so much more, including many names that are already familiar. David Behrman is back with another archival release on Black Truffle, after being a part of the "She's More Wild..." album from last year. I still haven't heard Behrman's stuff outside of that album. I probably should, the way that people get upset on Discogs.com about the quality of the repress of his first album feels different than the normal way they get upset, it's probably a good one. So I should probably hear that, but I'm sure this new one will be getting into my ears soon as well. Leafcutter John showing back up in a duo with Bex Burch, seemingly going into more exploratory areas than the more directly melodic stuff he's put out recently. His "Microcontact" album was a formative one for me, so while I have loved the recent turn, I'm psyched to hear the re-entry into stranger waters using the current equipment. Bitchin Bajas have a Sun Ra cover while also paying tribute to Wendy Carlos' "Switched On" series. And then William Parker makes another appearance on this page, this time via a collaboration his wife Patricia Nicholson. Lily Konigsberg offers a look at her songwriting outside of Palberta. Lotic shows that she can be as powerful in pop-mode as she can with the far out club stuff she was doing in the '10s. And then there's also the second part of this massive new work from Kyle Bruckmann. He had this great collaboration with Olivia Block a while back, with his contributions centering more on physical instruments like the oboe. And then I've also heard some really cool synthesis stuff from him with some albums on Entr'acte. This new stuff is more in the weird synthesis territory, the type with a low enough pH level to strip the paint off the walls of my mind, so of course I love that.

Then there's a new one on OOH-Sounds, I've never heard anything from WESQK COAST but this label has had some great recent releases with some cool takes on digital synthesis, this one is going to be using processed acoustic sounds but I'm still curious to see what it's all about. This Ross Goldstein album is a cool one, I guess it's the last part of a trilogy of mellotron-centric recordings, I've still only heard this one, but it's such a great meeting of artistic perspective and tool, the cinematic drama embedded in these sounds works so well with the compositions. Another new name for me is Dear Laika, this is an album I'm going to need to go in-depth with later, the music is this tremendous collision of piano/violin/vocal songwriting with synth and electronic processing that seems to magnify certain aspects of the sound so that they can match the scale of emotion in these performances... I'll need to think of how to explain it better, but it's one to check out for sure. You've also got this new one from Robin Hatch, crafting some fun tunes with a hint of disorientation using that massive old T.O.N.T.O. synthesizer. PG Six & Louise Bock have a harp/synth/alto sax combo that kind of reminds me of the last disc of Brother Ah's Divine Music. And then I'm not sure how best to describe this Christopher Parker album, but it's worth checking out, especially if you're a fan of contributors like Gerald Cleaver, Jamie Branch, or William Parker.

Then there's also this new batch of releases that came out on All That Dust, if you're not familiar with the label, they're incredible, they had this awesome binaural recording of a new performance of Stockhausen's Kontakte, along with other great albums of works by composers such as Cassandra Miller, Catherine Lamb, Morton Feldman, and many others. I know basically nothing about this new collection of albums, I'm probably just gonna do some blind pickups with these, but if you'd like to read something, Ben Harper at Boring Like A Drill has some thoughts up about two of them.

Finally, there were a couple of Thursday releases as well. Mondoj continue their hot streak with the new Nick Malkin album. It's the type of music that I want to see accompanied by a supercut of footage from tv shows where someone's face is entirely bandaged and they show a first person perspective of the gauze coming off from over the eyes. It just feels like that type of moment before full removal is sustained through this album. Lots of gorgeous sax and synth melodies floating above fuzz on this one, excellent stuff. And then this Martyna Basta album continues a similar hot streak from Warm Winters. This is one I've barely begun to grasp, I'll put some real work into finding the words for it at a later date, but just know now that I think it is great.Ok, so that all was just the stuff I was aware of ahead of time. But there's also all the stuff that caught me by surprise! Let's take a look at that too.

Noam Bierstone - mountains move like clouds (No Hay Discos)

Nikita Bugaev - oo Flips (Klammklang)

Russell Ellington Langston Butler - Collective Response to Giving Up (Self Released)

Henning Christiansen - OP.173a Als die Sprache platzte und die Musik abfuhr - und der erscheint "Ich glaube, der Mond will uns Helfen!" (Henning Christiansen Archive)

Henning Christiansen - Op.199 MANRESA (Henning Christiansen Archive)

Henning Christiansen - Op. 231 Der Mund spricht die Gedanken aus - Die Landschaft gibt ihren Klang / The Mouth expresses the Thoughts - The Landscape gives it Sound (Henning Christiansen Archive)

DJ Lycox - LYCOXERA (Principe)

Paul Dolden - Muses' Song (Self Released)

glia - #shekdo# (Self Released)

Masamichi Kinoshita - Study in Fifth I (Ftarri Classical)

Lolina - Fast Fashion (Deathbomb Arc)

Savvas Metaxas - 14.56.31 (Self Released)

Nakama. - human_error (Self Released)

Toshimaru Nakamura / Tetuzi Akiyama - Idiomatic Expressionism (Ftarri)

PT Musik - Não Sou Perfeito (Principe)

Slikback - SOMETIMES I JUST WANT TO FEEL (Self Released)

U - Joy of Labour (Where To Now?)

Yol - viral dogs and cats (Crow Versus Crow)

This Noam Bierstone album came to my attention very recently so I barely have gathered my thought on it, but I think anyone interested in some abstract percussion work will find a lot to like in these compositions (I especially enjoyed the way the first track used previously recorded material, what sounds like a flap of a bird wing, it fits in perfectly with the sound grammar of the performed material). And this Nakama. album is one that really needs a serious look, like I've only had time to be struck by all of the cool ways that the beats and the raps fit together, but I think there's going to be a lot to be found in these lyrics. And then you've got new ones from glia, Russell E.L. Butler, Slikback, Lolina, always worth catching anything they do, and then you've got stuff from Principe, Ftarri, a whole bunch of archival stuff from Henning Christiansen. Just so much! And there's probably even more that I forgot or missed, so wild.

If you're doing some shopping today, you might also be interested in all the new releases coming up today and in the near future. Like this new one from model home, I just had a listen to it recently at the best possible time. I came home after having some drinks with family that was in town, and I needed to do some dishes. Having to do things with my hands while slightly inebriated and listening to that music, it felt like life just completely made sense in that moment. It's so good. You can find that album and more on the anticipation list!

Recent Releases: October 22nd, 25th, and 28th


This was one of those weekends where there's more music than there is time! Especially since I've been sleepy, and also I've been trying out Final Fantasy V for the first time (it's pretty good!). That's one of the reasons I like to write this stuff down, so that I can remember it all for the future.

October 22nd, 2021

aya - im hole (Hyperdub)

Ka Baird & Pekka Airaksinen - FRKWYS Vol. 17: Hungry Shells (RVNG Intl.)

Circuit des Yeux - -io (Matador)

John Coltrane - A Love Supreme: Live In Seattle (Impulse!)

Deerhoof - Actually, You Can (Joyful Noise Recordings)

Grouper - Shade (Kranky)

Mazzarella / Håker Flaten / Ra - What You Seek is Seeking You (Astral Spirits)

MonoLogue - MOVIMENTO (Grisaille)

Adam Pacione - Any Way, Shape, or Form (Elevator Bath)

Jessica Pavone - Lull (Chaikin Records)

Andrew Pekler & Giuseppe Ielasi - Palimpsests (Shelter Press)

Phew - New Decade (Mute)

secat - no more tears (Self Released)

Tonstartssbandht - Petunia (Mexican Summer)

October 25th, 2021

Wobbly - Zero Monitress (Self Released)

October 28th, 2021

Threshing Spirit - The Crucible (American Decline)

The big one for me here is this new Jessica Pavone album, you can check out Foxy Digitalis or PopMatters for some detailed reviews, it's one I got an early preview of, and I still don't know how to talk about the way this music moves through time. Like I guess there's this whole thing with Pavone's compositional style, as explained on her website: "Pavone relies on a digital clock as a conductor to mark sections, duration, and cues. Indicated time frames on the score direct musicians to move freely between sections creating an overlap of sonic textures". I'm pretty sure that approach is being used on this album, and that's playing a big role in this quality of the music that I find so striking, but that's not the whole picture. I'm still not sure how to describe the missing pieces of what I'm thinking, but I'll go in-depth with this one in the future to try to figure that all out.

There's also so many other big releases though, many from well established bands and solo acts like Deerhoof, Circuit Des Yeux, Grouper, Tonstartssbandht, Phew, and even an archival live performance from John Coltrane. There's also the reunion of Andrew Pekler & Giuseppe Ielasi, last seen in collaboration on 2013's Holiday For Sampler. And Mazzarella / Håker Flaten / Ra, this trio had something out on Astral Spirits in 2015, I haven't actually heard it, but the drummer Avreeayl Ra has done some cool trio work with Dave Rempis and Joshua Abrams, as well as some other cool work with artists like Nicole Mitchell or Luke Stewart, so he seems like someone I need to investigate further. And then of course there's the latest volume of RVNG's FRKWYS series, which has done some great work bringing legacy artists together with the younger generations. This time you've got a recording from shortly before Pekka Airaksinen passed away, working with the incredible Ka Baird (if you still haven't heard Respires, you should give it a listen!).

Then there's newer people like aya, who made big waves with "That Hyde Trakk" under the alias LOFT. There's also some people who are mostly new to me, like secat, who also has some very cool electronic beats, though with more of a lo-fi sound than aya. But they both have some really intriguing structural stuff going on, I'm looking forward to getting in-depth with the albums. And then I'd never heard Adam Pacione's work, but this new album compiles a bunch of old CD-R material. It's nearly 5 hours of drone that manages to continue bringing compelling sounds to the foreground to the very end, definitely someone I want to hear more from.

There's also that MonoLogue album, I'd mentioned it last week, but I jumped the gun. It's out now though, here's what I said about it earlier, re-written slightly: "It's the conclusion to a three-part suite, with the preceeding parts coming out on Enmossed x Psychic Liberation and Falt. It's all such a great take on the GRM acousmatic electroacoustic composition style. There's a real sense of care for the details of the sounds, and a deft ability to maintain their sense through the spaces. The compositions will spend a lot of time in the quieter end of the dynamic range, and it's easy for the sense that's made with synthetic sounds to get lost in the silences, but the connections here are quite strong. Superb stuff, definitely check it out."

And then today, there should be the latest part of the Monitress series from Wobbly, though I may have the date wrong. This is a great one though, so keep an eye out for it if it doesn't show up. I'm still not entirely sure what the conceptual boundaries are for this volume, but it kind of reminded me in sound of the Keith Fullerton Whitman's Playthroughs stuff (appropriate I suppose, since that one involved computer listening via pitch tracked guitar becoming sine waves), sort of muted in a way. I'll have a lot more to say later on, but for now just keep an eye out for it. Also on Thursday, there's Jordan Reyes' homemade black metal, a great way to head into Halloween time.

So that's a lot of music, right? But that's just what I knew about ahead of time! There's so much more that's happening, like it turns out that fals.ch has been reactivated for a while now, they had something from Pita last year, some alternate versions of Acid Udon. But more recently, they had something on the 19th, a new one from Electric Indigo, who you may remember from her album on Editions Mego last year. Then on New Focus Recordings, there's something from a pianist I'm unfamiliar with, Julia Den Boer, I can't really find much credits of recordings but one of the compositions she's playing is by Linda Catlin Smith, so that's something I'll want to check out.

The Buddy System Project put out a collaboration between Tyshawn Sorey & King Britt, Dreamtone has a new one from Strategy, Dark Entries has an archival collection of 80's material from Lena Platonos, and Flying Aspidistra has a delightful answering machine collage from Fred Lonberg-Holm

And then remember how I mentioned that MonoLogue album on Grisalle? It's part of a very nice looking batch, including this one from Bruno Duplant & Julien Heraud, I only got one listen in on that one but the a-side had some very nice stuff going on. There's some piano and other tonal stuff, but there's also two competing vocal recordings, one that sounds deliberate and direct, the other sounding like incidental chatter, I really liked the interaction between the two.

Then there's also stuff like the album that Nyege Nyege Tapes just reissued, the Raja Kirik album. That one first came out last year on the Yes No Wave Music label. I'd meant to pay more attention to that label after the album I heard from Zoo (a cool band featuring Rully Shabara from Senyawa). But I didn't pay attention, so I missed it! It's probably cool though, I'm going to get to checking it out soon. But I should also probably follow through on the initial goal of paying more attention to this label.

So yeah, busy time for music right now! And I'm sure I'm missing a lot of other great stuff, but for now I'm just excited to see what all of these are about.

Recent Releases: August 15th and 20th, and October 15th through 17th


Here's some thoughts about some of the excellent music that came out around the middle of August:

August 15th, 2021

Neil Luck - Downturn Fantasies (Entr'acte)

I first heard about Luck through his album with the choral ensemble Musarc, Bloody Sirens. I was immediately taken in by how inventive the music was, how it would use the struggle to get the words out as a meaningful part of the composition. This album feels like it continues that spirit, but now it's the recording as the point of origin for sounding trouble. The music is full of singing, and it even features a genuine standard, Polka Dots and Moonbeams. It has been performed by Frank Sinatra, Sarah Vaughn, John Denver, and Bob Dylan, to name a few. The rest of it isn't exactly crooner-friendly material, but there's a simplicity to them, like there's one track where the vocals are basically just a descending scale. But the simplicity in that area feels like it is meant to emphasize just how much music there is in what happens to sound, sort of like the way Rashad Becker's "Traditional Music Of Notional Species" albums use simpler forms for the same purpose. Though Becker's stuff is more sonically consistent. With Luck's album, there's guests who bring in different instrumentation and help provide a sense of each track having their own distinct biome, though the various types of sonic damage also go a long way to their unique characteristics. I cannot recommend this highly enough for anyone craving adventurous music, this is some of the weirdest music I've heard all year and I love it.

August 20th, 2021

Bob Bellerue - Radioactive Desire (Elevator Bath)

This one has quite a lineup! Bellerue is joined by gabby fluke-mogul, Brandon Lopez, Jessica Pavone, Luke Stewart, all artists who have been on some great albums that have appeared on this page, and also Ed Bear, he's new to me, but I think it's fair to say I should probably check out his stuff if he shows up in a place like this. Bellerue is also a new name for me, but he has a really cool approach on here, where he performs with feedback generated from/directed to each individual performer. At first I thought of it like he is encasing each performed in a forcefield, the description says "the performers were physically located within speakers of varying sizes to create multidimensional feedback systems", and for some reason that made me envision the way the seven maidens would look after you would beat a dungeon in The Legend Of Zelda: A Link To The Past, when they show up encased in a crystal. I thought Bellerue would be doing that to the performers, but with feedback. But I don't think that's accurate, the feedback is more focused than that, directed to the amplify specific portions of the sound body rather than being so all-encompassing. It's more like an overflowing energy emanating on one part of a body, and sometimes that energy bursts out and turns into it's own thing. Maybe I'm off-base with this analogy, I still need to work on pulling the sound apart when I listen, but I'm having a great time with my attempts. And it helps that there's a piece that is drastically simpler than most others, with only has Pavone on organ, accompanied by Bellerue's feedback. And then another piece goes even further, with just Bellerue playing feedback against the instruments on his own. I think paying more attention to those ones can help unlock what's happening with the full ensemble, it's really cool that they're included. But not at the start, you have to work your way through the full experience before you get that kind of info.

Jon Collin - The Fiddler Now Steps To The Road (Unifactor)

I've never heard Collin's music before, and I do wish that I had a bit more knowledge about his music, because it's tricky to write about. I could say that the experience feels like trying to grab smoke, but that feels more like I'm talking about the difficulty of talking about it, rather than talking about the music itself. There's a few things I can pick up on, like how the music is constructed outside of real-time, but still shows a confident restraint in knowing that it doesn't need a lot of sound to draw you in to the way it unfolds. And the instrumentation of guitar and fiddle alongside environmental and ambiguous sounds has the type of beauty that gains from its blemishes. I feel like there's a lot more to it, but I guess that's a positive attribute too, when music can hold on to the mystery.

Gordon Grdina & Jim Black - Martian Kitties (Astral Spirits)

This is another instance of Astral Spirits introducing me to artists that I need to know. I went in to the listening experience armed only with the preconception that "Martian Kitties" would mean a lot of emphasis on timbre and effects. You know, get some instruments processed so that they sound like cat noises, and then make them even weirder with some alien digital reverb or something. I would have been perfectly happy to get that, but this is much different, launching right off with some rockin' guitar from Grdina and drums from Black, the type where it's like always on some awkward footing but it still manages to barrel forward with absolute confidence. There's some additional electronic manipulations from Black that pop up that sort of get into the sound work that the name made me expect, and Grdina jumps over to the oud sometimes, but mostly this is some weird instrumental rock, I am into it.

Pasquarosa/Gerycz - II (Unifactor)

At first I was a little disappointed that I didn't get something written up about this at the time of release. Because the casual waves of guitar and drum on here totally have a "late summer night with lingering heat" kind of feel to them. But when this came out, that was already happening, we already had those nights. Right now, it's cold outside and my windows are leaky, so it seems like an even better time to have this music move into my life like a warm breeze. There's a flexible tempo, but both Pasquarosa and Gerycz are locked into it, neither one taking a step out of place for each rise and fall. It's not all serene, sometimes they do kick up a storm, but it's more like the excitement of some sudden rain against the window rather than anything that suggests possible mortal danger. They're only cooking up good weather as far as I'm concerned.

Rosali - Chokeweed (Unifactor)

Another stellar entry from this batch of guitar albums from Unifactor. The tracks all feature some kind of looping foundation, sometimes it's light drum machine, but usually just guitar, with additional guitar layers that take a more expansive approach to time. I feel like the word "meandering" gets a bad rap, like people associate the term with aimlessness. But I see the meandering qualities here as more like being on a road that might take some twists and turns, but there's never any exit, this one road is the whole trip. But there is still a purpose to the course, a sense of direction. And since most of the songs here are only around 3 minutes long, it never gets anywhere near the point of travel exhaustion. The whole thing's got an engaging serenity to it, very cool stuff right here.

Jumping forward to now, here's a quick overview about the great stuff that has come out this weekend!

October 15th, 2021

Anz - All Hours (Ninja Tune)

brin - Water Sign (sound as language)

Fire-Toolz - Eternal Home (Hausu Mountain)

Perila - 7​.​37​/​2​.​11 (Vaagner)

Marina Rosenfeld - Teenage Lontano (Room40)

Aho Ssan - Simulacrum Remixed (Subtext Recordings)

Jimmy V x Slum - AUDI COMA (Orange Milk)

October 16th, 2021

Requiem & Simon McCorry - Joy; Division (Woodford Halse)

October 17th, 2021

MonoLogue - MOVIMENTO (Grisaille)

I wrote a bit about Fire-Toolz on Friday with a focus on all of the music videos that have come out for her incredible new album, so if you'd like to see some additional thoughts you can give that a read. I'll have to go in-depth with the whole album later, but for now just know that I think it's tremendous. There's also the Ninja Tune debut of Anz, if you're not familiar with her dance music, you are in for something special. Then you've got brin doing some great work with the lush sonics that have been showing up on the collaborations from this year, and this Aho Ssan remix album has a great lineup (including FRKTL, Exploited Body, and KMRU), I'd actually missed the original album but it seems like something I need to hear. And then these new ones from Rosenfeld, Perila, and Jimmy V x Slum are all very promising as well. And then Saturday had the new Requiem & Simon McCorry album, it's a very nice earthbound alternative to the ascensions of their last meeting.

On Sunday we should see the new MonoLogue album. It's the conclusion to a three-part suite, with the preceeding parts coming out on Enmossed x Psychic Liberation and Falt. I'm not sure if there might be some delay with this latest one, it would be understandable since delays are happening with nearly all physical goods, seemingly. So why not check those first two parts while you wait, because she has such a great take on the GRM acousmatic electroacoustic composition style. There's a real sense of care for the details of the sounds, and a deft ability to maintain the sense they can make together, like the compositions will spend a lot of time in the quieter end of the dynamic range, and it's easy for the sense that's made with synthetic sounds to get lost in the silences, but the connections here are quite strong. Superb stuff, definitely check it out.

There were also a whole bunch of surprise releases, or maybe I just missed the initial news. Dasa Tapes has a new batch, including a new one from Eventless Plot! And I don't know if I'm just missing their announcements, but Klammklang have a new one that I only just now found out about from Diana Romanova, I haven't heard anything from it yet, but everything they put out is worth paying attention to. But I've been missing some of their other recent releases, I need to go back and check those out too. Then there's also this new Lag OS album, I loved the previous album on anòmia, I'm excited to see what's in store for this one. Then there's also the regularly scheduled surprises like with Takuroku, this week's pair include a new one from Julia Reidy that I'll absolutely need to hear. And SUPERPANG put out their 100th release with something from Finlay Shakespeare, they'll be taking a break until 2022, which is helpful since I need some time to catch up on their recent activities.

So yeah, lots of great stuff to check out, and I'm sure there's plenty I'm missing!

The Pre-release Videos of Fire-Toolz - Eternal Home

Tonight at 8:30 PM EDT, there will be a premiere party for the new Fire-Toolz album Eternal Home, with small sets from Ben Levin, Euglossine, Bhob Rainey, Giant Claw, ---__--___, and more! There's an ambitious plan for a visual accompaniment to the album utilizing footage sent in from fans, it should be an exciting time for eyes and ears alike. So it seems like a great time to look back at all of the music videos that have been coming out in the lead-up to this release. I'll only be posting images in this thread, but if you are going to watch these videos, please note that they contain flashing imagery which may not be suitable for people with photosensitivity.

If you're entirely unfamiliar with Fire-Toolz, I've described the music Angel Marcloid puts out with this alias as "risky", because she operates it as such a big tent, welcoming to different styles of theatrical, harsh, and colorful music. Each one of these, on an individual level, can be a challenge to the sensibilities of good taste for many listeners, myself included in some cases. So to have this all working together seems like it is inevitable for someone to be put in a position of needing to forgive some ultimately meaningless stylistic transgression before they can fully let the music into their heart. Which seems like a big ask! And it may not come right away, and the music still asks me to adjust in new ways, but the rewards have absolutely been worth the effort.

The first video for the new album was for Shenpa Indicator Light!!!, directed by Faye Fadem. She performs music as Trust Fund Ozu, and will be one of the additional performers for the premiere party. She has a few animations on her YouTube page (and a great Yee meme), but hopefully that page gets full of more animation, because this rules.

I love these kind of narrative character based videos, like Blur's "Coffee & TV", where the focus is on some small creature going through some ups and downs. Having the emotional attachment to whatever they're going through can open me up to amplifying the response to the music, or take me down a path with it that I might not have arrived at so quickly if I only had the music.

The video is quite eventful, but I'd like to just highlight this one small moment in the beginning. The character is on the move and the song's lyrics are appearing on screen.

As the character passes by a streetlamp, the words disappear, and this is noticed. The face displays confusion and alarm at this development, and it heightens my own sense of uneasiness that pops up in the music at this very moment from the synth. There's a lot of great synchronicity like this, even as the song and visuals get much more dense in content and meaning. Really fantastic execution on this one.

It's also a great introduction to the album, making it clear that you're going to get something a little different with the vocals on this album as one of the primary vehicles for melody in the song. Previous releases mostly stuck to extreme vocal presentations, so it's very cool to continue to get my expectations and sensibilities challenged, to still not entirely know what I'm in for.

The next video is directed by Ben Levin, who does a lot of strange comedy/educational musical stuff along with some animations, very wild. He provides the visuals for Lellow Birbs.

This track gets to the harsh vocals that are more familiar from previous Fire-Toolz releases, with some kind of spatial diffusion distortion that makes them sound particularly earth shattering, especially when paired with some pummelling drums. The visuals are appropriately abstract and visceral, like there's a lot of stuff with this fluid in the screenshots above, there's something about the way it pours out of this red orb, it feels like I'm seeing something that is physically extreme, but like it's a few degrees removed from the real thing, enough to nudge the parts of the mind that would be getting set on fire by the unfiltered version. There's even a bit where we see some Hamburger Helper type of character decay. Sprouting moss, falling apart, and spilling goo, it's kind of extreme, but I think the abstractions operate as a similar sort of diffusion as what's on the vocals, like the horror of what's happening to this hand person is not as extreme as it could have been with some slight changes in how it was represented.

The third video is for I Am A Cloud, directed by Jesse Bond. I haven't done as much digging into Bond's other work, but there's a new video that just got uploaded the other day called "BMX BARNACLE", very cool stuff.

This one looks a bit different the previous two videos, like this picture looks like it's out of those freaky Quiznos commercials. No more glossy 3D, this one gets messy with some video collage. There's a lot of stuff with eyes.

There's a lot of keyframed motion and psuedo-3D perspective warping, done in a way that takes a sledgehammer to any perception of a coherent physical space, and there's so many loud colors. I found it a bit strange at first, because the song feels like more on the relaxed side, like there's a bit of a clash between visuals and song. But that works for the song, since there is a strong contrast between the harsher vocals and the rest of the music. I may have gotten a bit numb to the shock of that, and this video probably helped reactivate that, which I take as a positive.

This one may have some kind of narrative aspect to it, Marcloid appears frequently in various magic-using guises, like this point where she's some kind of miniature winged being stirring a cauldron.

I dig it, but I'll probably need to get a bit more focused if I want to pull anything like a plot out of it. But I think it still works great as a purely sensory experience.

The fourth video is from Nick Krueger, for the opening two songs from the album, ≈ In The Pinewaves ≈ / guardian angel bear. This one operates in a similar space to what Levin produced, though it's much less of extreme in how it treats the eyes. There's still some vivid saturation in the colors.

But overall I would say the palette is a bit more neutral/natural.

I think this is an excellent choice, and it really pays off with the quieter moments in these tracks. The end of In The Pinewaves has everything die down and lets through some environmental-type of sounds, and then guardian angel bear has a bit of a false start before it really gets going. And when that happens, it's like the camera goes inside of a diamond and we see all of these reflections of Marcloid, hair bright red, it's an excellent payoff to the restraint that was shown up to this point.

The last video is directed by Marcloid herself, for Thick_flowy_glowy_sparkly_stingy_pain.mpeg.

This one is kind of operating on a smaller scale than the others, it's a "straightforward" performance video. Except the impression of a band is created through duplicating Marcloids image, and the layering and color saturation gets so extreme, like in the 2nd screenshot there, it's like the layering isn't purely additive, the way they blend is ripping a hole into the image rather than just purely stacking. It's another great addition to a strong collection of videos!

So yeah, give these a watch, and be sure to check out this stream later today!

Recent Releases: October 8th, 10th and 12th

I'm still running behind on my focused writeups, I'm close to the next batch though, I'll try to get some dispatches out over the next few days. But as far as new releases go this week, you're in for a treat. There's so many great choices!

October 8th, 2021

Marja Ahti - Still Lives (Students of Decay)

HMOT - This Music Greets Death (Warm Winters Ltd.)

Hoavi - Invariant (peak oil)

Jerusalem In My Heart - Qalaq (Constellation)

l'ocelle mare - Sans Chemin (Shelter Press)

Ergo Phizmiz ft. Depresstival - Plaza Centraal (Strategic Tape Reserve)

Stice - Stice's Satyricon (Ramp Local)

Toshimaru Nakamura - Culvert - No​-​Input Mixing Board 10 (Room40)

Topdown Dialectic - Vol. 3 (peak oil)

MVW - Classic$ (MVW Productions)

Cody Yantis - Physical Silence (Round Bale Recordings)

Nick Zanca - Cacerolazo (Full Spectrum Records)

October 10th, 2021

Giant Claw - Millennium Bug Live 2018​-​2021 (Genot Centre)

October 12th, 2021

Kyle Bruckmann - Mesmerics/Hindsight A (Infrequent Seams)

I've been a big fan of the Topdown Dialectic releases that peak oil has been putting out, so the conclusion to that trilogy is very exciting to see. But that label does not put out a whole lot, so it's noteworthy that they've got this Hoavi album coming out. I'm quite eager to see what that one's all about, the preview makes me think it's on a similar level of highly refined electronic sound as the Topdown Dialectic material. Then while we're on the topic of great sound, there's also this Nick Zanca album, a musique concrète feast for the ears with some real drive behind it. And then Marja Ahti's also got a new one! And this HMOT album is so gorgeous... it's a really good time for ears right now. Then in poppier territory, there's some great tunes on this Ergo Phizmiz/Depresstival album, I'd never heard his stuff before but this one certainly brings the joy.

The biggest surprise for me is this MVW album. That's Michael Vincent Waller, who you may remember from his 2019 album on Unseen Worlds, Moments. When I heard the charmingly direct piano and vibraphone melodies, it never occurred to me that this would work great when paired with the producer of Waka Flocka Flame's "Hard In Da Paint". That song is amazing, but it's still not a pairing I would have ever considered possible. But on Classic$, Waller teams up with Lex Luger to take his approach to melody into hip hop. I was uncertain of how this would turn out when I first read about it, but it all made complete sense when I listened.

There's a lot of other great stuff out on this Friday, I'll give them all some focused attention here in a few weeks. And then on Sunday, you've also got an album of live tracks from Giant Claw, and the first half of Kyle Bruckmann's awesome new electronic work arrives on Tuesday. A lot of other promising upcoming releases have been getting announced, and I've got some updated info about delayed releases (like that Coltrane Live In Seattle album that got bumped to the 22nd) on the anticipation list.

Recent Releases: October 1st, 5th and 7th

It's another one of the Bandcamp Friday promotional events, where they waive their cut of the purchase price so that more of it gets to the artists and labels running the pages. Somehow, even though these events have been going on for a while now, people are still complaining about getting buried by Bandcamp e-mails. I tweeted out a rough guide on how to make a filter in Gmail to separate all the Bandcamp e-mails from your regular e-mails. You can reclaim your inbox! This doesn't have to be a problem!

No individualized blurbs this week, but here's a long list of brand new releases:

October 1st, 2021

AJA - SLUG (Opal Tapes)

Black Dice - Mod Prog Sic (FourFour Records)

Wendy Eisenberg - Bloodletting (Out Of Your Head)

Hairbrushing - Unlisted Natural (Obsolete Staircases)

Sven-åke Johansson / Niklas Fite / Joel Grip - Swinging at Topsi's (Astral Spirits)

Lungs/LoneSword - The Birth of LoneSword (PTP)

Brett Naucke - Mirror Ensemble (American Dreams)

Yann Novak - Bathed In Light And Rapture (Room40)

Oriente Lux - Oriente Lux (The Jewel Garden)

Pilgrim Raid - Anna Agenda (CHINABOT)

RDL Shellah - Showcase EP (Bokeh Versions)

Matt Robidoux - At Dust (Already Dead)

claire rousay - 17 roles (all mapped out) (Shelter Press)

Loren Rush - Dans le Sable (Recital)

Paula Shocron / William Parker / Pablo Díaz - El Templo (Astral Spirits)

SSS - SSS (Decoherence Records)

TAK + Brandon Lopez - Empty And/Or Church of Plenty (Tripticks Tapes)

Tirzah - Colourgrade (Domino)

Various Artists - Eins und Zwei und Drei und Vier - Deutsche Experimentelle Pop-Musik 1980-86 (Bureau B)

Various Artists - The Future Disintegrates (The Jewel Garden)

Various Artists - Tresor 30 (Tresor)

Wobbly - Ethical Monitress (Self Released)

October 5th, 2021

Baggie - Sour (Haord Records)


October 7th, 2021

JD SWIFT - JD SWIFT (Psychic Liberation)

There's so much cool stuff coming out! It would be enough just to see the return of Black Dice and Tirzah's sophomore album, but then there's also Tresor celebrating their 30th anniversary with a compilation that nearly reaches 5 hours in length. There's also another artist following up their 2018 debut, AJA. Her last album achieved this particularly vivid electronic brutality, it offers some great catharsis, I'm really curious to see where she goes from that starting point. I think Opal Tapes has a few other new ones, I got a little confused by the listed release dates, but I'm sure they're all worth a look, they do great work. There's also some stuff I looked into on a whim, like this Hairbrushing album, Tabs Out tweeted a link and said "goes so hard", I checked the previews and they were right, it does. I'm eager to hear the rest.

I need to make sure to call extra attention to this latest chapter from Wobbly's Monitress project. The way each chapter engages with ideas of surveilance through the use of audio-to-midi software, operating it as a listening device, expanding and corrupt a musical input, it's all something that has been quite thought provoking for me, since I've been engaged with my own self-surveilance project with my listening data for nearly 6 years. The albums so far have all turned the failure to capture the whole truth into something musically playful, but this one seems to go all-in on capturing the creepy and disconcerting feelings that these technologies and processes can (and should) evoke. It's maybe my favorite in the series. But probably not the one to start with.

But yeah, there's too much to give every release their fair due, that will have to wait until later. But for now, just know that I think everything listed is very cool, and you should click some of the links and see whether they're something you're into.

It's also worth noting that there's a few releases that come a little later in the week that are worth keeping an eye out for. I love the mutant zolo that Haord gets out into the world, so I'll definitely be checking out these two new ones from them. And this JD SWIFT is another one where I basically know nothing about it, but the label has been popping up a lot for me lately via the Marie Rose Sarri album and the LXV / Glyn Maier split, and the previews sound cool. So make sure to save some room for those later in the week!

Recent Releases: August 9th and 13th, and September 24th

Here's some thoughts about the music that came out around the first half of August:

August 9th, 2021

Temporal Marauder - The Shape Of Love (Ketu)

Ten years ago, Joseph Raglani put together a fictional band called Temporal Marauder, they had a whole elaborate biography and everything. He had been around working publicly with modular synths since the mid 00's, and I'm no expert on everything that he's put out, but it felt like up to this point the closest he would get to going into song mode would be on a track like the opener on his split with Outer Space, there's a lively and dynamic melody that makes the equipment apparent by the way it takes its steps, while also operating with a depth that defies the expected limitations. But it doesn't quite get into the type of overt structure with distinct parts that I'd expect from pop music. A lot of different wonderful things happen, but it all feels like an uninterrupted stream. His fake band didn't really change that sense of linear flow, but there's something about the flashes of a heavily-vocoded delivery of the title line in "I Saw You Walking" and the way that stood out in the disorienting swirl of perpetually lagged music attempting to catch up to itself. But then some years back, Erica Sparks joined and with her vocal and songwriting contributions, the band has produced a collection of songs that find unopened doors in the sorts of hallways that Broadcast or Stereolab have traveled in. There's space age bachelor pad vibes on tracks like "Through Windows Over Lawns", but then there's also "The Lives In You" sounding like the land-based inverse of The United States Of America's "Cloud Song". The songs still feel like they have the linear flow of Raglani's early stuff, like in the way that Sparks' vocals casually step into the higher notes on "State Of The Station", but there's still enough delineation to make it unambiguous that this is pop. The whole thing feels like it's targeted directly at the pleasure center of my brain, it hasn't been far from my speakers or headphones since it came out and I expect it to stay that way for quite some time. Highly recommended!

August 13th, 2021

d'Eon - Rhododendron (Hausu Mountain)

This album has been getting compared to older video games a lot, particularly the fantasy worlds of something like Zelda, due to the instrumentation being modeled after the type found in the chamber music that commonly accompanies stories with swords and castles, synthesized in a way that makes no attempt to hide its nature, evoking a time when this sort of sonic limitation was mandatory. But while technology may have advanced to remove this limitation, that doesn't mean that it still isn't necessary for some music. And it feels necessary here, it heightens the sense of uncertainty in the stranger turns of the narrative, like the later portions of "Into the Clearing" and both parts of "Through the Mangrove", and it makes me more willing to buy into the charm of the plucky determination in "Rhododendron" pt I, II, and III. That series in particular actually makes me think of a strength that this album has over the sorts of video games I'm reminded of. I remember playing Chrono Trigger, after going through an initial adventure through time, you make a stop back in the starting town before continuing on to new battles. There was something comforting about hearing the same music as before, a nice moment of respite. But when "Rhododendron pt. II" comes on, I get that same type of comfort from the return of the familiar, but the music is beefed up. It feels like I've leveled up from the tracks that came between this and pt. I, and it's details like this that elevates this far beyond the realm of nostalgia and into the world of great music.

Sally Decker - In The Tender Dream (NNA Tapes)

This experience reminds me of the way that I hear certain noise music, even though a large portion of this album doesn't even have any sharp edges in the sound. And when the abrasive side does show up, it's not operating at an overwhelming scale. But listening puts me in a place where I don't feel myself moving, it's the kind of music where I count the rhythm by saying 1 and then eventually the music ends. There's definitely a sense of form to it, especially when vocals show up. But even with the variety in all of those aspects, the experience feels like one whole something, beamed down onto me by some kind of towering giant.

Minua - Simulacra (Warm Winters Ltd.)

This trio is new to me, but I'm really enjoying the introduction provided by this mini-album, it does has such a satisfying structure. It starts with these two tracks that have a lot of layered woodwinds, with all of the breathing highlighted in the recording. And maybe I'm just a little naive about the realities of playing an instrument with your breath, but something about the construction makes me feel like there's this huge imbalance, with way more air coming out than going in. It's not upsetting, the music still sounds gorgeous, but it makes me feel a little off balance. But then on the third track, the air abruptly goes still, and the music is just some strums ringing out over a small synth drone. It's like the earth stops spinning. I find the effect highly satisfying, it pulls me in even deeper, into an even better position to connect with their time-scale.

Rachika Nayar - Fragments (Commend)

Earlier this year, Nayar had her debut album out on NNA Tapes featuring a lot of really great granular mangling of guitar sounds that never gave the impression that it was losing any musicality through all the technological warping. Really fresh stuff, definitely go back and check it out if you missed it. This new one feels like it's on a smaller scale and plays the sound a bit more straight. It's a collection of miniature snapshots, rarely exceeding two minutes, featuring many layers of guitars, and they all very clearly sound like guitars. I do generally have a preference for going out adventuring in the larger structures and constructed timbres, but sometimes I want to relax at home and not have to put on shoes, so it's really cool to see that she has music for that mood as well.

Lucy Railton & Kit Downes - Subaerial (SN Variations)

I've been having a great time with all of Railton's music released over the past few years, but it turns out that even before the first album came out in 2018, she had recorded this project with Downes the year before. They're friends from school days, and have featured on each other's work, but I wasn't aware of his side of things before now. I'll have to check it out, because he does a great job meeting Railton's cello with some organ. A lot of the music will have the cello taking a fluid and expressive position while the organ sounds more blocky, with the latter aspect really getting played up with the way the higher notes cut to the front of the sound. It gives me a sense of muscles and bone assembling in real time, with each side informing how the other constructs their next step and taking on an assertive role when needed for the overall creature to be functional. It's just a great process to witness, I'm very glad this made it's way out into the world!

Jana Rush - Painful Enlightenment (Planet Mu)

If you have any interest in footwork/juke, this is an essential listen. And if you don't, then you're in luck. Because Rush says that this isn't a footwork album, and my perspective of the genre is far less informed, but this really does feel like something else. Though there's a lot to unpack with the influences, honestly I need to read more about her and all of the context around this. There's a recent interview in The Wire but I still don't have a subscription, but this interview from South Side Weekly gives a peek into her history. One thing that stood out to me was what she said about what unifies her productions: "Well, what my music has in common is that it’s typically crazy—and it sounds chaotic, but it’s not. In my mind, it works out. I guess that’s one reason why I like Venetian Snares. When my mom listens to his tracks, she’ll be like—“what is this noise?” But you know, it makes sense to me, and that’s how my music is". Venetian Snares' music would often get abrasive and pummeling, but I had a shift when I listened, where it became about moving with power through dangerous territory. There's probably metalheads out there who have explained the sensation better than I could, but I feel like that spirit animates Painful Enlightenment, and the ways that it engages with its dark emotional subjects. The album's got all of this, while also maintaining a sense that anything can happen, with all sorts of fresh idea about rhythm and sound. It's tremendous, do not miss this one!

Ludwig Wandinger - Rooms (Orange Milk)

You might see the artwork on this, and the 16 minute runtime, and think you're in for some kind of information overload experience, one that's packed to the brim with intricate and jagged handcrafted waveforms moving with the plasticity of hand drawn cartoons, in the style of a computer with really good graphics. And there's sounds that fit the bill for that on this album, but there's also plenty of calm moments that let you catch your breath. I do love a good all-out overload, but it can sometimes be more difficult for me to see what the music is doing beyond the spectacle, to get out of the headspace where I'm always expecting the unexpected, so that it all becomes expected. But this has just the right amount of space to allow the personality and differences to shine through. "Mindroom" has this dull metallic sound as this sort of root of the music, where chaotic stacking rarely goes long without seeing the root reassert itself in the bottom of my ears, except for a few moments of maximum intensity. Something about it feels much more focused on vertical height, it's way different than "Pferdestärken", which is more like a very large collection of projectiles without the kind of single mass connection of that first track. I'm sure I've got a long way to go before the whole picture is clear, but it still feels like I got to skip the part of the magic eye poster where it doesn't look like anything at all, and that's very cool.

And if that's not enough for you, there's so much music that is coming out around now!

September 23rd, 2021

FRKTL - السَّمْت Azimuth (Self Released)

Mong Tong 夢東 - Orientations 向位 (WV Sorcerer Productions 巫唱片)

September 24th, 2021

Crazy Doberman - "everyone is rolling down a hill" or "the journey to the center of some arcane mystery and the entanglements of the vines and veins of the cosmic and unwieldy millieu encountered in the midst of that endeavor" (Astral Spirits)

Crazy Doberman - illusory expansion (Astral Spirits)

Equipment Pointed Ankh - Without Human Permission (Astral Editions)

Headboggle - Digital Digital Analog (Ratskin Records)

Devin Hoff - Voices From the Empty Moor (Songs of Anne Briggs) (Kill Rock Stars)

Hiro Kone - Silvercoat the throng (Dais Records)

Maurice Louca - Saet El Hazz (The Luck Hour) (Northern Spy)

Lyra Pramuk - Delta (Bedroom Community)

RXM Reality - WEWEREFRIENDS (We Be Friends)

Saffronkeira + Siavash Amini - The Faded Orbit (Denovali)

Macie Stewart - Mouth Full Of Glass (Orindal)

Taranoya - Becoming (sound as language)

Temp-Illusion - PEND - REWORKS (Zabte Sote)

Mark Tester - Oblivion Rhythms Revisited (Moon Glyph)

Henry Threadgill Zooid - Poof (Pi Recordings)

Richard Youngs - CXXI (Black Truffle)

September 27th, 2021

Barbara Dang & Muzzix - Michael Pisaro: Tombstones (Elsewhere)

Jordan Dykstra / Koen Nutters - In Better Shape Than You Found Me (Elsewhere)


Guy Vandromme - Bruno Duplant: l'infini des possibles (Elsewhere)

September 30th, 2021

MonoLogue - MOVIMENTO (Grisaille)

I'll have some more to say about all of these later on, but I will say anyone who caught RXM Reality's performance at the HausMo Fun One last July and was wanting to see where he was going with that pop stuff... it's here. And it rules. And that Temp-Illusion remix album does a great job finding people to take the information overload drum programming into some cool directions. Normally I get frustrated when remix albums feature too many takes on the same track, but everyone puts enough of an imprint on their work to where it was never an issue. But yeah, there is an overwhelming number of promising possibilities here, roll some dice and no matter where you land, you should end up somewhere cool.

Recent Releases: September 17th, 21st and 22nd

I don't have any blurbs this week, but I will be making some big moves to catch up soon! A lot of very special music has been released recently, and I really want to be correct about how I highlight them. In the meantime, here's an overview of some of the music from today, and a couple that are imminent:

September 17th, 2021

Blue Lick - Hold On, Hold Fast (American Dreams)

Will Guthrie - People Pleaser Pt.II (kythibong records)

Jan Jelinek - The Raw and the Cooked (Faitiche)

Moor Mother - Black Encyclopedia of the Air (Anti- Records)

RP Boo - Established! (Planet Mu)

Luke Stewart - Works For Electric Bass Guitar (Tripticks Tapes)

Byron Westbrook - Mirror Views (Ash International)

September 21st, 2021

Aryo Adhianto - Sintaksis (DIVISI62)

September 22nd, 2021

Prolaps - Ultra Cycle Pt. 3: Autumnal Age (Hausu Mountain)

It feels like the RP Boo, Will Guthrie, and Moor Mother releases are all getting some deserved attention, and I am psyched to check out all three. But you also won't want to miss that Blue Lick album, it's Havadine Stone nailing a long text all in one take while Ben Baker Billington joins in on synths, such a good mix. I'm also excited to check out that Jan Jelinek, I thought that one was going to be vinyl only, but there's a digital version, so I'll actually be able to hear it relatively soon. Moor Mother isn't the only bandmember of Irreversible Entanglements showing up, Luke Stewart is here as well, always a welcome sight. And Byron Westbrook has his second release of the year following Distortion Hue from back in February (great album!). Once the weekend wraps up, there's this Aryo Adhianto album from the DIVISI62 label from Indonesia, they came to my attention a little while back for this awesome gamelan techno thing by Uwalmassa, I haven't been great about keeping up, but this Adhianto release seems like it's getting into some very fascinating far out electronics, seems like it'll be a big one for anyone interested in that world of sound. And then on Tuesday, Prolaps' third entry in the Ultra Cycle series will ring in the Autumnal Equinox with their strangest music so far.

Before that weekend comes to a close, I'll be playing some songs I like alongside some friends at https://www.twitch.tv/chagrecords, Saturday at 8PM EST. I put some visuals together using OBS, taking a compilation of commercials from September 1998, using a luma key to only let through the sliver of brightness that produced the best outlines, and then using display captures cropped to the approximate area of the preview window (with slight differences so that they produce some directional movement in the initial feedback off of the commercial outlines), and then adding on an additional level of complexity with a free roaming camera with luma key pointed at the screen, to try and get some feedback with motion that had some synchronization with the music. This output was recorded and then used to produce a displacement map over the first episode of Columbo (directed by Steven Spielberg!), and then that video was overlayed with the video feedback, so that the Columbo episode would appear to be getting pushed around by the motion of the colors (when the conditions of the video allowed it to be legible). It's possible that spending all that time playing with video feedback is why I don't have any blurbs this week, but in my defense, it's a lot of fun and it looks really cool.

Recent Releases: August 3rd and 6th, and September 10th

Just added some thoughts to the anticipation list, about some recent music from the beginning of August:

August 3rd, 2021

Mukqs - In Human Form (Husky Pants Records)

This is a great introduction to the way Mukqs does things. Not because it covers everything in his repertoire (there's none of the aquatic ambience of Water Levels, or the relatively coherent beats on his work with Sharkula), but the journeys taken here embrace a good variety of the possibilities of his hybrid live/prepared electronics. It operates as two distinct live sessions, each with their own approaches to moving between direct (though highly warped) tunes and more spaced out hazy territory. The first one opens with four quick ones, going off like a rollercoaster that's been made more fun by the increased danger of its age. But the second one keeps it a little more even. There's some great interconnectivity in the sets, like the way that the distorted synth at the heart of the final track makes a brief appearance a few tracks back in "Keep Your Eyes Open". This album has quickly turned into one of my favorites from Mukqs, I feel like there's still so much more at work in making this music great that I haven't gotten into yet, and I look forward to it all being revealed to me over the years.

August 6th, 2021

Bass Clef - Magnetic Chapters (Wrong Speed)

My way in with Bass Clef's music was through his releases on Slip, "111 Angelic MIDI Cascade" and "Orezero". I've heard some of the other stuff, but most of my experience is with those two albums, and they are central to how I understand what I hear from him. On the Slip albums, it's like he's hooking the synths up directly from the box and into my mental perception, like the air of reality has never touched these sounds. Which isn't a problem, since it would just get in the way of hearing the weird production details and how they heighten the expressive qualities of the already-lovely melodies. On this new album, it feels more like the synths are being documented in a space rather than piped into my skull, except the space is actually totally constructed, as synthetic as anything else. But the expression-heightening detail work is as strong as ever, like in the way the emulated string sounds on the 3rd track jump into a higher register for the ending, but in the process their timbre gets warped, as though the virtual strings became tangled in themselves. This is music as well equipped at triggering fascination as it is at bringing a smile, wonderful stuff.

Liars - The Apple Drop (Mute)

So I have a bad habit of taking long-running bands for granted, and I really shouldn't. With Liars, it's like that initial run of the first three albums (and the Oneida split and two 7 inches that came out in 02) was all so huge for me, every step delivered some dramatic shift in their rulebook. But starting with their self-titled album in '07, it felt like the rules were settled. The results were still great! But even when there were some big moves in style, like with the different approaches to synths in the first half of the '10s, it just didn't feel the same as before. I had lost the ability to feel as though a song from Liars could challenge their established history. The truth is probably that I'm just not recognizing something, but I don't think it actually matters. I mean, as a person writing about the music, it would probably be good for me to be able to talk about what this new one brings to the table. Something about the way that this is the first time the band has ever grown in size after shrinking to the point of being an Angus Andrew solo project, perhaps. But as a person listening to the music, I'm just happy to have some great songs, and Liars are still doing some great songs, and I want to just sit with that before contemplating anything else about it.

NTsKi - Orca (Orange Milk)

The Giant Claw album from earlier this year was my introduction to NTsKi, but it turns out she's been doing some very cool electronic pop for a few years now, just not on albums. One of the tracks has even had a cool video and a wild Foodman remix out and available since 2018. But I only really became aware with this full collection of tunes, and honestly I'm glad I wasn't on the cutting edge, because getting to hear these songs bouncing off each other is such a great experience. She'll hit you with a track like "Kung-Fu", where she plays as a slow and steady foil to these staccato cartoonish voices on the beat, and then on the next track, the production is all-in on amplifying the comfort. But then you also have tracks like "On Divination in Sleep", where the softer voice is just one tool she deploys alongside a more direct approach to claiming the foreground. It's just really great to get this full of a picture of where she's coming from musically, I'm not sure if I'd find the picture so clear if I wasn't encountering it all so close together. This is an excellent debut album that suggests a promising road ahead!

Moritz Von Oswald Trio - Dissent (Modern Recordings)

I'm not on the same level as the people who really love Basic Channel, the classic dub techno duo that Oswald was a part of. I've enjoyed a lot of what I've heard, but the experiences have always been driven by the passion of the existing fans, like I was more catching the secondhand smoke of their party. I still need to have my moment with the music, but I'm sure I'll get there. This does mean that I'm probably not in the best position to speak about his music. I haven't even heard any of the other trios that he's done (they do have some good looking lineups), but this one features Laurel Halo on keyboards, so there was no way I was going to miss it. Heinrich Köbberling fills things out on percussion, and Oswald's role is as this unifying force with one hand on some additional synths, and another on some electronic percussion. It's a really cool format, sometimes Köbberling has the percussion side all to himself with his kit, but Oswald can easily just step over and put some mechanical rhythms in the foreground, and then back away and focus his energies into joining Halo on the keys. So the tracks can vary pretty heavily in their fluidity, but they all feel like the work of the same band, there's always a sense of the music capturing the same sort of beauty as the deep colors of an overcast day.

Sunk Heaven - THE FVCKHEAѪTED LVNG (American Dreams)

This feels like something I would see performed in some kind of underground concrete bunker, like even when the music is relatively open, it still feels like the sound is being crammed into a space that's too small for it. Which is perfect for the vibe, slow beats and oscillators coated in grit, vocal intensities that correlate with the weight of the distortion. When I see myself in my mind's eye while listening, I'm sweating by the end. If you want something reasonably heavy, this one is a great way to put some pressure on.

Saadet Türköz & Beat Keller - We are Strong (CHINABOT)

This one's just a short trip with Türköz's voice and Keller's guitar, but it really packs a punch. I'm not familiar with the musical influences of Türköz's Uyghur culture that she is bringing to this music, but I love the way that both of these musicians are so receptive to what the other is putting out there. Like at the end of "Kashgar", in the last 90 seconds the guitar is processed to put out these high pitched beeps, while the voice is giving some popping plosives, and in the last minute Türköz lets the full voice out and goes beyond percussive breaths, she falls into this rhythm at a lower pitch and it feels like the guitar is trying to fit into the timing. But the momentum pushes it into letting more noise through, which leads to the voice going into a higher pitch at a rapid fire rate, with the guitar quickly reaching up to catch it, and then in an instant the voice returns to the pops and the guitar climbs back down. I'm sure that the additional context will help me appreciate it more, but honestly I think it's enough for the start to just hear these two musicians hearing each other.

And here's what's coming out right now and in the immediate future:

September 10th, 2021

---__--___ - The Heart Pumps Kool-Aid (Mondoj / Orange Milk)

Jessica Ackerley and Daniel Carter - Friendship: Lucid Shared Dreams and Time Travel (577 Records)

Sarah Davachi - Antiphonals (Late Music)

Lee Gamble - A Million Pieces Of You (Hyperdub)

Lexagon - Feminine Care (Ratskin Records)

Annea Lockwood - Becoming Air / Into The Vanishing Point (Black Truffle)

Low - HEY WHAT (Sub Pop)

Norman W. Long - BLACK BROWN GRAY GREEN (Hausu Mountain)

Skeeter Shelton & Hamid Drake - Sclupperbep (Two Rooms Records)

Smylex Attack / ardor. - Aether / Flux (Strategic Tape Reserve)

Synalegg - Computer Series (OOH-sounds)

September 11th, 2021

WRS - Bruh Matrix (Self Released)

September 13th, 2021

Wobbly - Instant Monitress (Self Released)

I'll have more to say about all these soon, but in the meantime, you can turn to Foxy Digitalis for some thoughts on the wonderful new releases from Lexagon and Ackerley/Carter. They also had something about a track off the ---__--___ album, I'm not sure if there's any other in-depth writing on this one yet, but the duo of more eaze and Seth Graham have cooked up something beautiful on this album, and I look forward to going into more detail about it later. Boomkat has some information about many of these other ones. I really wish I wasn't behind schedule so that I could share more, like the details on this latest chapter of the Monitress saga from Wobbly. It strikes a great contrast with last month's overtly human entry, and it is going to be a lot of fun to explore with words. But you don't need to wait for me, just dive in when it shows up. So much great stuff this week, I'll have more to say soon!

For more blurbs about recent releases and listings for future ones, check out the anticipation list.

I made a rudimentary blogging platform in google sheets

I've been writing on this site since February of last year with plans to expand beyond the blurbs about upcoming music and the single essay that loads in the index, but I have not been able to find time to do that. In fact, I've even found it difficult to keep up with the pace I was setting, and now there's a month's worth of music that I want to write about. So it seems like the right time to try to do more. I have this CMS that I built in Google Sheets, it's probably more trouble than it's worth but I feel like the investment will pay off eventually. I've linked it in case any of it could be useful for something you want to do (and feel free to reach out if you need assistance), but I'll start using this to share updates to the anticipation list, but also new features, like some thoughts on the large volume of music that I don't notice until after it comes out. I try to stay on top of it all, but there's so much! I only just recently found out about a Leila Bordreuil and Zach Rowden collaboration that came out in July. I was very glad to get the heads up on this from Keith Prosk's harmonic series newsletter, I love their collaboration from 2017, this is absolutely something I want to dig into. I'll also have some longer posts, like something that looks at six years of my listening data to consider how my relationship with music has changed, and what that means for the relationships I'm building with music I've heard this year.

Since I'm behind on the blurbs, I'll be making posts on Fridays that cover a batch of semi-recent music while also doing a very brief overview of the new stuff, but I hope I can eventually catch up and get back to blurbs as music is coming out. Not because I care about being current or anything, it's solely because it is so much easier to write about being interested in something where I don't have the full picture. I know that I could still write about this stuff entirely before I listen but that feels like a cheat when the music is available. But for the time being, I will have a one month delay with sharing any substantial thoughts about specific music.

Since this post is just a bunch of boring procedural stuff, I'll leave you with a suggestion if you're looking for some fun: go to YouTube and find something that's one of their autogenerated "topic" videos, but one with the category of various artists. You could just search "various artists topic" and one of the accounts will come up. Go into the videos tab, and you'll find thousands of songs that are likely miscategorized, and it's all stuff that you probably would never have any other chance to encounter. You can find ambient music made for puppies, noisy rock from Russia, and who knows what else. There's multiple Various Artists accounts, each one with new songs getting miscategorized every minute, so the grab bag potential is pretty great.

Thanks for reading, more soon!