A CLOSER LISTEN
Fall Music Previews 2024 (part ii)
Dear Listeners, Joseph here once again with the second part of Richard Allen’s ACL Fall Music Previews 2024. What are you most looking forward to? I’ll have my own list of a few more coming in our next installment. Until then, happy listening.
Fall Music Preview 2024 ~ Electronic
Fall Music Preview 2024 ~ Modern Composition
Fall Music Preview 2024 ~ Rock, Post-Rock, Folk & Jazz
Fall Music Preview 2024 ~ Electronic
The beats are back! It’s time to move and groove with a full slate of electronic releases, designed to motivate and energize. This tempo-based genre ranges from the languid to the extreme, with everything between. This season we see further evidence of the machines taking over, from A.I.-generated electronics to robotic industrial tributes. But fear not; the human touch still remains. For now, we’re still in control, although the future remains uncertain. It’s more likely that we’ll share the planet until the icecaps melt and Skynet challenges the Matrix for supremacy.
Our cover image is taken from Floating Points’ Cascade, covered below; for more impressionistic art, see the artist’s new paint video for Key103.
One of the season’s highest-profile and most dynamic releases is Cybernetics, or Ghosts?, which includes contributions from multiple ACL favorites, including KMRU, Aho Ssan, PYUR and Ziúr. To sweeten an already-sweet pot, the album accompanies a printed anthology of fifteen short stories that reference Italo Calvino’s seminal work of the same name. The album also celebrates the 20th anniversary of Subtext Recordings (October 6). Dekmantel 10 marks the 10th anniversary of the influential festival with a seven-album box set spanning multiple electronic genres and featuring contributions from Karenn, Lee Gamble, Jeff Mills, Adrian Sherwood and more (September 13).
Ben Lukas Boysen was once known as Hecq, and “pure computer music” has always been close to his heart. On Alta Ripa, he returns to his first love. We can easily imagine a tour with labelmates Rival Consoles, as each possesses a warm heart despite seemingly cold interfaces (Erased Tapes, November 29). Fabric presents another in its series of fabulous mixes, this one from Rødhåd. The mix is high-energy throughout, a techno treat perfect for home, car or club (September 27).
Ant (Anthony “Ant” Davis of Atmosphere) opens his hip-hop vaults for Collection of Sounds Vol. 1, the first of four releases that highlight his strength as a producer. The liner notes invite rappers to contribute rhymes to the grooves, but we’re happy to hear them in these pure forms (Rhymesayers Entertainment, September 6). Those who enjoy this record will likely also appreciate Crespi Drum Syndicate‘s Beats, which concentrates on rhythm and percussion, operating as a set of sample-ready breaks (Isla, September 6). Hammond organ, synth and percussion make krejenski.‘s B-3 Vol. 2 an alternative jam record, drawing from multiple genres, but retaining a throwback flavor (Agogo, September 13).
We suppose it’s never too late for Songs about the Sun, but ELWD‘s EP sure sounds like a July record. Just close your eyes and imagine a tropical beach, a wooden chair, a drink in the hand (Noire & Blanche, October 4). In related fashion, Glenn Astro makes us smile by releasing Music for Autumn in its season. The laid-back grooves and slightly jazzy feel seem autumnal, while the beats occasionally retreat like leaves from an autumn tree (Tartelet, October 11).
Coming off his award-winning collaboration with Pharoah Sanders and London Symphony Orchestra, Floating Points (Sam Shepherd) took one left turn and then another. The first was to compose a score for a ballet performance; the second was to return to the dance floor. Cascade‘s tempos are steady while the textures roam the pastures; the production is incredibly clean throughout (Ninja Tune, September 13). Milio‘s Invisible Lands is another pure dance album, as positive and upbeat as its cover art. Koen Taselaar has also been honored for his visual work, and this album offers the best of both worlds (Atomnation, September 6).
Whatever happened to Amelia Earhart? Public Service Broadcasting brings their sample-based approach to The Last Flight, which is often as uplifting as an excursion in the sky, but without the unhappy ending. Some may call their music a guilty pleasure, but last year’s orchestral set raised our expectations of another triumph (So Recordings, October 4). Along the same lines, Jamie xx‘s comeback album features some prominent guest vocalists, including Robyn, but one in particular will be of interest to our readers. Early single “All You Children” features a rare appearance from Avalanches. In Waves is released September 20 on Young. Margay‘s Horizon EP is likely to cross over as well, on the heels of the Halloween-ready single Haunted (September 27).
The “synth sketches” of Luke Sanger‘s Dew Point Harmonies don’t sound like sketches to us, but compositions fully formed. The pieces are suffused with brightness, which matches the album’s inspiration: morning walks on the Norfolk coast, where early morning dewdrops dissipate in the heat of the rising sun (Balmat, September 6). This is hurricane season, so Photay‘s Windswept is arriving just in time. From “Low Pressure System” to “Derecho,” the producer makes the most of his newly invented “wind” synthesizer patch. The beats are languid, never quite approaching a storm, but the anticipatory feeling is ever present; one can even heard the wind chimes rattling (Mexican Summer, September 20). Ambience meets glitchy beats on 5ILTH, a combination that SUUMHOW works. (Sorry, we couldn’t resist!) The album is released on n5MD, which over the years has cornered the market on this instinctive blend (October 25).
Nídia and Valentina (Magaletti) join forces on Estradas, a supremely danceable record that combines the best of live drumming and electronics. The organic flair gives the album an extra aura of authenticity, informed by world music and a sense of exploration (Latency, September 13). Evan Chapman‘s Reverues may be an electronic album, but the spotlight is on intense, rhythmic percussion, as showcased on the first single Fractions (Better Company, October 11). Arsenal Mikebe combines live drumming with a repurposed RT-808, resulting in a frantic and urgent sound. This Ugandan ensemble is ready to pack the dance floor with DRUM MACHINE (Nyege Nyege Tapes, September 6). Not to be outdone, Chinabot presents IN THE SUN, a Tokyo post-industrial dance duo whose Dawn boasts traditional drums with a Taiko feel (September 27). VAAGUE also combines live electronics with drums, enlisting Stuart McCallum (Cinematic Orchestra) on Amsterdamn. Oktopus Mekaniks is out October 18 on Shapes No Frames.
The opening of Nico van Wrench‘s Psychose may be subdued, but with a title like that, one knows that the sonic agitation is on its way. Originally composed as the score to a dance performance, the music now wanders onto the world stage (Naked, September 20). Completed after Mika Vainio‘s death, the double-A sided Fermionit/Kulmamomentti now receives the extended treatment, with help from Jimi Tenor and Timo Kaukolampi. It’s yet another reminder of a life lost too soon (Sähkö, September 13). On the more abstract side of electronics we find Clan Caimán, who offer minimal grooves and a sense of spaciousness on Pica Pau (EM, September 20).
Harald Grosskapf, the co-founder of Wallenstein, has been active in electronic music since the 70s and is still going strong. Strom is the artist’s latest synth release, a throwback in one sense and a continuation in another (Bureau B, October 18). Also on Bureau B, Heiko Maile + Julian Demarre present the “Corona diary” Neostalgia, which toys with the sense of time distortion rampant during the pandemic (September 6). After ten albums and thirty years in the business, Monolake is still relevant, as shown by the creativity of Studio. Revisiting old patches and themes, Robert Henke sends them flying into the future (imbalance computer music, September 6). “23 is so yesterday,” writes Kompakt Records as they prepare Total 24, the latest in a series that has accompanied many of us throughout our lifetimes (September 6).
A real treat for those who have been around for a while or who simply love turn-of-the-century music, Styrofoam‘s the lost album (previously unreleased recordings 2001-2001) sounds so refreshing one wonders why it wasn’t released back then. Originally meant as the artist’s third album, this music languished for nearly a quarter century before receiving this timely release (September 6). Some people may remember Brian Duffy from Modified Toy Orchestra; the composer’s new synth work, Instead of Faint Spirit, is out September 6 on Buried Treasure.
Slow synth is the hallmark of Oneironaut‘s Alien Gnosis, which leads with a 24-minute single reminiscent of classic works by The Orb. Purposely retro, the sci-fi journey is both expansive and expressive (Avantgarde Music, September 6). On the same label and day, Destro releases the more aggressive Night of Vengeance, which draws upon classic sci-fi and horror and is meant to disturb; although the opening synth of “The Nighthawks” actually reminds us of Journey’s “Separate Ways.” The cosmic psychedelic sounds of Hawksmoor are meant to invoke an earlier and more carefree era; Oneironautics is comforting in its synth-drenched familiarity (Soul Jazz, October 11). “Synth wizard” Paul White returns after a long absence to share Peace in Chaos, which draws upon film scores and video games for inspiration (R&S, October 11). Two decades into the business, Lifting Gear Engineer is now prepping his eighth album for release, armed with new gear and sounding simultaneously modern and retro Recovery is released November 2 on Machine Records. Veteran Joaqui is clearly in love with “Bladerunner,” as all four cuts of the Replicants EP reference the original film. It’s a fun ride and a reason to revisit the mythology (Thelema, September 30).
We’ve curious about the “invented instruments” on Jeff Snyder‘s Loom, although we can identify the synth and bass guitar. Multiple genres are crossed on this experimental album, which includes a soupçon of darkness suitable for the season (Carrier, September 6). Francesco Leali‘s Let Us Descend is slower and darker, inspired by a “culture of cults,” the ritualistic timbres enhanced by violin, viola, cello and double bass. The album gains power as it progresses, adding to the allure. Lead single “Catatonic Blue” contains no beats, so you’re just going to have to trust us (Until Riots, September 6). Released on Halloween, Rich God‘s Unmade seems to fit the holiday. Dark, dense and distorted, it may drive away as many trick or treaters as it attracts (Somewherecold). After decades in the business, The Bug is releasing his first instrumental album, and it’s a double LP. Machine is dour and devastating, packed with slow industrial rhythms and a sense of menace (Pressure, October 4). A “beached singing voice” dangles above the claustrophobic textures and industrial rhythms of Nzʉmbe‘s Ardor or Entropy, sliding into the heart of darkness (Drowned by Locals, October 18). Kyle Bruckmann offers a double album of industrial madness with DUTY CYCLE/ACTIVE CULTURES, an 80-minute set on Already Dead Tapes & Records. One album is filled with beats, the other with experimental textures (September 20).
The liner notes of Isgang‘s Camino a Liurna include a very interesting tagline: “inspired by a dark time in which iron predominated on earth.” The music is suitably occluded, with beats bubbling below the ether (Subsist & Faith, November 1). It’s only of five albums up for pre-order on the label, which really has its act together. The others are Obwigzyh‘s Nem Szép, a hard techno workout with intricate backdrops (September 3); KOSAA‘s Displace, which begins with atmosphere before escaping into the outer cosmos (September 19); Hypogea‘s Olga, in which organic instruments makes surprise appearances (October 1); and Ben Zed‘s Las mil y una caras, where beats and bass take turns in the foreground (October 15).
Tam Lin‘s “elastic instrumentals” hold court on Mutant Tangle, which honors its title with a creative combination of timbres. The percussive “Augmentation” is particularly appealing with its stereo effects and factory tone (September 27). A Taut Line is described as “damaged and disoriented,” which means he may not be invited to many family gatherings, but you’d definitely want him behind the mix. Restoration is filled with a variety of beats and textures, and is out September 6 on Diskotopia. maya dhondt‘s wow, x features an unusual combination of piano, electronics and avant voice, an outlier in the genre (Viernulvier, September 13). B.Visible records bright, sparkling electronica, and features a mixture of instrumentals and guest vocalists. We can’t stop watching the fascinating video for “Ella,” in which cars, planes and people use Valeria Menia’s body as a highway, and in which apples bob atop an underwater landscape. Life Is My Hobby is out October 11 on Matches Music.
The fact that CZiGO (Mark Donlon) is a jazz pianist factors strongly into the improvisational sound of Actant Theory. The rub: the improvisor is in many cases the computer. The album opens new ways of composing and listening, and is appropriately released on Machine Records (September 7). Millsart combines jazz with slower-than-usual techno on the four-track Powerland EP, prompting the idea of a remix EP down the line (AX, September 20). Two long pieces for organ and electronic pulses fill A Thousand Strings, the latest outing for Tiago Sousa (Discrepant, September 27).
Approaching electronic music from a rock perspective, Mazza Vision strips tracks down, then rebuilds them from the ground up. Ohm Spectrum is out September 27 on Sub Rosa. Dub and rock populate Stone Island Tracks, a desert-vibed collection from Brokenchord (South of North, September 9). Dub also features on the first track of Orsova, a new compilation from 12th Isle, before the album heads into parts unknown (September 9).
Disco house makes a welcome comeback on Hayley Zalassi‘s Lose Your Head, which should be apparent from the colorful, retro cover. The piano of “Raining Angels” makes it the early highlight (Shall Not Fade, September 13). Soso Tharpa definitely wants club goers to dance; there’s no letup on Fistful of Shells, which draws from multiple influences ranging from samba to breakbeat (Nervous Horizon, September 6). Dead Man’s Chest & King Kutless revive the acid breakbeat scene on Trip II Insanity, which is also offered with a t-shirt and poster (Sneaker Social Club, September 6). 90s rave intersects with Arabic pop on Marchadair, an energetic offering from ABADIR & Nahash that includes a pair of remixes (SVBKVLT, September 25). Drum ‘n’ lasers Freddy B, Minor Forms and Creatures team up on Wake the Funk Up. We’re not sure if the creatures on the cover are fleeing the dance floor or running toward it, but we suspect the latter (Sofa Sound, September 11).
Greek electronic producer Anatolian Weapons returns with Beyond, a collection of club cuts that fulfill the admonition of the opening track, “Just Dance.” A bit of acid is thrown into the house-tempo techno as well (Subject to Restrictions Discs, September 6). The new duo DEFTR injects a bit of ambience into Run Away, primarily in the opening and closing tracks; in the middle, the techno gloves are off. We’re hoping that the breakbeat-inflected “A Glimpse” is the next single (npm, September 20). In like fashion, Suumhow combines ambience and jungle, two tastes that meld like peanut butter and jelly. 5ilth is out October 25 on n5MD. Following an ambient beginning, DoorHead jumps right into IDM. 0pen22 is out September 6, with computer-friendy track titles (Not Yet Remembered).
Tsujinov calls his music “a weird debut from the future,” a blend of ambient and glitch reminiscent of video games. A number of singles have already been released, with the full-length Bushidoclast scheduled for October 1. Dub and IDM collide in a collaboration of sci-fi beats as DYL & Senking pool their creative resources. Diving Saucer Attack is out September 27 on Karaoke Kalk, preceded by the theremin-esque title track. We love the cover of DHÆÜR‘s Supercinema 05, billed as “the final chapter of the first story of Supercinema.” While the composers are different, all five releases, dating back to October 18, are informed by classic sci-fi films while sharing a visual aesthetic (Supercinema, September 6). There’s a rough edge to the new album from Sharp Veins, which we take as irony as the title is People Pleaser (Nowhere Places, September 27).
Rrose x Patagonia drop a surprise techno collaboration on September 20, which began when one artist heard that their cuts were being used in the other’s DJ sets more than any other. The mutual admiration shines through on Dermatology‘s glistening techno cuts. Although it sounds nothing like The Beatles, one might consider Gábor Lázár‘s Reflex the producer’s White Album. Even the Bandcamp background is white, and one anticipates an all-white dress code once the techno-IDM parties begin (raster, September 20). AAAA pays tribute to rave culture on X Scroll Era, folding in breakbeats, jungle and bits of trance. The title may be contemporary, but the vibe recreates that of the early 2000s (Umor Rex, September 13). The first single from Tiger Village‘s GRID WORK is strong and swift, and includes four non-album tracks, a boon for fans (Suite 309, September 10).
DJ Stingray uses industrial-strength beats to convey the intertwined worlds of A.I. and robotics. The INDUSTRY 4.0 EP is harsh yet rhythmic, the sound of an impersonal future (Tresor, September 20). DVS NME & Krypton 81 pay tribute to Das Muster on the techno-electro The Endless Pattern, a blast from the past (Pan-Am Tracks, October 4). Virus contains four cuts of pure, steady tempo techno, courtesy of Dynamic Forces (dolly, September 20). Aszent does the same on the Black Dots EP, leaving nary a second for a swig of Gatorade (Antimodus, September 20). We’re pleased that Ireen Amnes‘ Forbidden Memories EP is being released September 27, because it contains “October,” a perfect track for those earlier, more foreboding nights (KR3).
Vocoder features strongly in the Gaudi Kosmische Trio, operating as another instrument in the arsenal. As expected from the trio’s name, Torpedo Forward is an upbeat mixture of Krautrock and prog vibes (Curious Music, October 3). Spoken word and dark beats – with BPMs kept below 100 – populate Bodies, a beguiling entry from EPRC (Stray Signals, September 6). One of the most raucously appealing sets of the season, Dame Area‘s Toda la verdad sobre Dame Area marks a shift in sound from electro-synth to percussion-heavy industrial. The chants are reminiscent of Nitzer Ebb, while the energy never wanes (Mannequin, September 13).
Fall Music Preview 2024 ~ Modern Composition
Modern composition is looking incredibly strong this fall, as evidenced by the fact that half of our Ten Fall Albums to Check Out Now! came from this category. One of these albums was literally buried for three years; another one is the last testament of a beloved composer. From established veterans to promising rookies, the fall slate promises to console and uplift. Only two LPs below are connected to movies, which means that while listening, the listener becomes the screen. We hope you’ll enjoy our sneak peek at the fall slate in Modern Composition!
Our cover image is taken from Akamatsu’s Seminary, which is covered below, the original illustration from Héloïse Robin.
The spiritual successor to The Blue Notebooks, Max Richter‘s In a Landscape intersperses field recordings with emotional paintings, producing a sense of intimacy. Amazingly, the release will coincide with Richter’s first ever world tour. The message of “reconciling polarities” could not be more timely (Decca, September 13). Also on Decca, Luke Howard combines his solo piano piece from World Sleep Day with a new orchestral work for ballet, in conjunction with choreographer Juliano Nunes. Fans will have to wait a little longer for Interlinked, as it it’s out on November 1.
For months we’ve been hearing about Erland Cooper‘s Carve the Runes, Then Be Content With Silence; the only copy of the tape was buried for three years while fans were encouraged to look for it (and hopefully return it to the composer). Fortunately it survived intact. Cooper’s work for solo violin and string ensemble will soon be heard in full, none the worse for wear (Mercury KX, September 20).
Laurence Pike‘s The Undreampt-of Centre is a new take on a Latin mass, a requiem for the 21st century. Inspired by the loss of his father and an appreciation for the place of humanity in nature, Pike enlisted the Vox Sydney Philharmonia Choir and recorded the music in a 19th century Gothic church. The results are otherworldly (Leap, September 6).
Sarah Neufeld, Richard Reed Perry and Rebecca Foon‘s First Sounds is a glorious new collaboration between like-minded performers, the love child of Bell Orchestre and Esmerine. The lead single “Maria” was inspired by a reel-to-reel tape of old hymns, slowed to half-speed; even at the slower pace, the divinity shines through (Envision, November 1).
If the video for “Enter the Void” arrives with a warning, it’s only for security purposes. Malcolm Pardon (half of Roll the Dice) intends The Abyss to investigate notions of death, including the specter of suicide. These piano-led compositions are not meant to unnerve, but to comfort as one acclimates to the idea of impermanence. On the other hand, we do sense a theme, as the last album was titled Hello Death (September 20). “Achieving success takes a certain level of suffering, and that’s the paradox of joy,” writes Cephas Azariah. Joy Paradox is written for piano and electronics, and glistens with a new-found sense of peace (Reflections, October 21).
Cellist Oliver Coates considers the unreliability of memory on Throb, shiver, arrow of time, infusing his compositions with smoke and smudge. Guest appearances from Malibu, chrysanthemum bear and more send the spirit soaring. Inspired by the after-images of the artist Sarah Sze, these works create their own echoes (RVNG Intl., October 18). Eric Pan‘s Travel Poems is a literal ode to travel, with piano played on four continents, interspersed with field recordings from locations as diverse as Beirut, Tunisia, Greece, and South Korea. But as proven by the transit-based epilogue, there’s no place like home (October 6). Continuing on the numerical theme, Iván Muela‘s Ether took four years to complete, includes the work of four musicians and is “presented as a poem in four stanzas” (September 27).
Akamatsu‘s Seminky (Seeds) sounds as colorful as it looks, combining talents from France and the Czech Republic. Annaïck Domergue’s elegant poetry is sprinkled throughout the set; post-rock and electronics make welcome appearances, and the overall tone is lively and upbeat (Ricco, September 26). Modern composition and electronics meet in the middle on Andert Tysma‘s Hana, which was inspired by Japanese action movies, with guest strings by members of the Berlin Orchestra (Apollo, November 1). Earlier this summer, we featured the striking music video for The Backrooms from Swedish composer Per Störby Jutbring (if you missed it, see below); there’s more wonder to come as Tenants of Misty Mansion (According to the Landlord) is released. The concept album is packed with playful references, designed to appeal to the child inside us all (Hoob Records, October 18).
Icelandic composer Snorri Hallgrimsson is set to release the Longer Shadows, Softer Stones EP on Deutsche Grammophon; the set is short, but packed with expansive beauty, the exquisite piano backed with sumptuous strings (October 4). Also on Deutsche Grammophon is Roger Eno‘s The Skies: Rarities, a short set of unreleased material that speaks to climate change in a melancholic, yet encouraging voice. Strings, guitar and electronics enhance the pensive piano (September 27). The newest signee to Ólafur Arnalds’ OPIA Community label, YANA makes an immediate splash with Ikigai. The track builds on a piano base with strings and analog synth before circling back to its peaceful origins. Daydreamer is out October 23. Tom Connolly (Fohn) returns to his ancestral home and the traditional Irish fiddle on Seanteach (Irish for “old house”), and weaves his family’s tale through field recordings and composition (Odda Recordings, October 18). John Gürtler and Jan Miserre pack the OST to The Outrun with traditional Scottish instrumentation, while adding some surprising beats. The movie looks pretty good as well (Decca Classics, September 13).
Stefano Guzzetti‘s LYS (LIGHT) is dedicated to “all the lights of my life.” Each composition is dedicated to a person or couple (oscarson, September 6). Matthew Barley teams up with visual artists Yeast Culture to present Light Stories, an audio-visual work that will make its debut at the Southbank Centre on its release day, September 28. In telling his story of trauma and recovery, Barley incorporates the music of Bach and others into his own compositions (Signum Classics). Six composers collaborate with pianist Siwan Rhys to create Letting the Light In, an encouraging album that appears just as the light is fading (NMC Recordings, September 20). A week later, the label will celebrate their 35th anniversary with a 35-track, four hour compilation drawn from across their catalogue.
Marche Nocturne (Night Walk)is the debut album from solo pianist Thélonius García. The album is prefaced by a pair of singles, the latest of which is Vestiges, an ode to the sea (September 6). Also making his debut is Slowburner, blending piano, percussion, synth and electronics on Life happens in the interim. The first single is All the possibilities of the universe (September 13). Erjos offers a new EP on Bigo & Twigetti, three tracks of pure piano on The Presence (September 20).
Luca Di Mira (Pillow)‘s Steps was composed during the pandemic and aims to lend solace to its listeners, as exemplified by And I’ll Be There For You, which builds from soft piano to a bed of electronics and strings (Rizosfera, September 20). Pianist Daniel Inzani is making an incredibly bold move by making his debut with a triple album. One disc is jazzy, another is improvisational and the third is chamber ready, with contributions from Spindle Orchestra (which he also leads) and more. Considering how much music is already included, it’s startling to see that the title is Selected Works. The extravaganza is released on Hidden Notes September 3. Cajun-Persian Tallā Rouge, nicknamed “The Little Viola Duo Who Could,” offers world premiere recordings on Shapes in Collective Space: ten tracks from seven composers (Bright Shiny Things, September 20).
Our furthest-out fall release (by date, not by timbre) is Rikuto Fujimoto‘s Distant Landscapes, which was inspired by the composer’s “nostalgia for places he’d never been.” These wistful piano pieces are enhanced by the artist’s expressive voice (FatCat/130701, November 30). Pianist Jordi Forniés returns with his second album of the year, although it’s easy to make connections between the two. We Invented Love is the first taste of the new set (Decca, September 6). Saviet/Houston Duo offers patient piano and violin on a clearing. As the title implies, the space between the notes is as important as the notes themselves (Marginal Frequency, September 10). And Taylor Swindells, recording as Neighborhood Libraries, introduces Departures with the lovely Keflavik, a reflection on “a transformative summer in the Netherlands” (Nettwerk, October 4).
Patrick Shiroishi is the rare artist to appear in multiple genres on our site. His elegant score to Volta Collective’s Glass House represents yet another shift. The LP’s first taste is the procession (Otherly Love, September 20). Clark builds on his score for In Camera with an album of the same title, which expands on the film work while providing additional nuance (Throttle, September 13). Violinist Ray Chen tackles the world of TV, film and video game scores on Player One, featuring themes from Squid Game, How to Train Your Dragon and more (Decca Classics, October 18). James William Blades completed his score for Pare de Sufrir (End of Suffering) without watching A.G Rojas’ film; somehow it all worked out. The film is about people caught between life and afterlife, and the choir and orchestra are perfect reflections (AD 93, October 4).
ECM Records is preparing a slew of releases for September, beginning with four on the 13th. Alice Zawadzki, Fred Thomas, Misha Mullov-Abbado‘s Za Górami draws from folk, chamber and jazz, putting new spins on traditional tunes while introducing their own. Florian Weber‘s Imaginary Cycle, composed for brass ensemble and piano, includes rare appearances by both trombone and harmonium quartets. The clarinet and piano of Louis Sclavis, Benjamin Moussay twirl together on the all-original Unfolding, while Trygve Seim, Frode Haltli duet on saxophone and accordion, Our Time including originals as well as folk songs from Ukraine and other regions. The following week, Tord Gustavsen Trio lends new beauty to old hymns, including “Nearer, My God, to Thee.”
Fall Music Preview 2024 ~ Rock, Post-Rock, Folk & Jazz
Our 2024 Fall Music Preview comes to an end on the first big release date of fall. Soon everyone will be able to hear these albums in full! But remember, this is only the beginning. By the time the autumn leaves start to fall, an exponential number of albums will have been announced. We’ll continue updating our Upcoming Releases page daily, while covering the very best releases in reviews and podcasts. Thank you for reading and listening, and as always, we hope that you’ll find your next favorite album right here!
Our cover image may look familiar, as it is taken from Glacier’s A Distant, Violent Shudder, which is released today and was reviewed last week. The album is also listed below.
Only Godspeed You! Black Emperor could knock itself out of the top position in our Fall Music Preview. Their surprise announcement last week elevates them to the peak. “NO TITLE AS OF 13 FEBRUARY 2024 28,340 DEAD” is a reaction to wartime atrocities, which is one of their topical specialties; although they would prefer that such things would stop happening. “Every day a new war crime,” they write. “Don’t give up. Hang on” (Constellation, October 4). While it does include vocals, WE ARE WINTER’S BLUE AND RADIANT CHILDREN‘s NO MORE APOCALYPSE FATHER, is just as loud as the capital letters suggest. The quartet includes members of Big Brave, Godspeed You! Black Emperor and Ada, and is billed as “an album about witnessing bleakness from a place of safety.” Come for the bombast, largesse, and density, and enjoy long instrumental passages as well (Constellation, September 13). The same holds true for A Swarm of the Sun, another juggernaut who incorporates lyrics, but whose power is impossible to resist. An Empire is the Swedish band’s fourth album, preceded by the immersive anthem “The Burning Wall” (Pelagic, September 6).
But what if you want something loud and immersive without lyrics? We recommend A Distant, Violent Shudder from Glacier, which also contains incredible post-rock titles, including “The old timers said they’d never seen nothin’ like that,” recently featured on the ninth volume of the Open Language series from A Thousand Arms (Post.Recordings/Wolves & Vibrancy, September 6). And when Glacier releases an LP, Ghost of Glaciers can’t be too far behind. The powerful Eternal is slated for release October 25 on Translation Loss. God Is An Astronaut expands their sound on Embers, featuring Jo Quail on every track and guest starring Dara O’Brien on bowed psaltery, tanpura, chimes and more (Napalm, September 6).
High on energy and packed with riffs, Solars‘ A Fading Future offers a perfect blend of post-rock and post-metal. As it’s out on both red and green vinyl, why not buy both for Christmas? (Ripcord, September 6). “Mini-supergroup” Black Aleph is dark and doomy, yet retains a sensitive side. The band includes Lachlan Dale, Peter Hollo and Timothy Johannessen, who influences coalesce into a blackened whole. Cello and occasional violin lift Apsides out of the sludge and bring it to higher ground (Dunk/Art As Catharsis, October 25).
Now we slow it down a bit with some glorious ambient post-rock shoegaze. Yes, Hammock is back, and we couldn’t be more excited! From the Void includes four tracks that were left off Love in the Void and four more tracks inspired by Love in the Void. Fans of that album ~ truly, any Hammock fans ~ should purchase on sight (Hammock Music, October 25).
Post-rock stalwart Stafrænn Hákon is preparing to release two related albums at the same time. Ventill/Poki (valves:resurrected) is the remastered twentieth anniversary edition of perhaps the band’s finest moment, while Gler/Hanski is a collection of tracks from the same era, most never heard before, polished off and given a modern glow. Both are out September 13. Italy’s Platonick Dive has already released three singles from Take a Deep Breath, with the full album to follow on September 13. The Italian post-rock trio is upbeat and engaging, graced with hints of electronics, enough to brighten one’s day (Moment of Collapse).
Dextro‘s Respire splits the difference between ambience and post-rock, offering pieces that lend themselves well to long, vista-filled drives. The tone is widened by guest stars on saxophone, trumpet and harmonium, ensuring that the emotional impact is deep (September 12). Jet Le Pardi‘s Surface to Air begins in ambience before turning to other genres, including shoegaze and post-rock. Just to be safe, the artist lists six of our seven categories on Bandcamp (September 11).
The influence of film noir can be heard on Loysing í dós, the first single from GØ‘s Ævir, amen. The album is a cry for Faroese independence, but the brass is downright euphoric (Tutl, November 8). Modern Silent Cinema‘s Aphoria is the fifth installment of a generous six-album series of stray tracks, demos and alternate takes. The tracks share a rocking vibe that references classic films and their composers. “Nosferatu Boogie” is a highlight, but the best turn of phrase is “Fig Newton of the Imagination” (September 1). Chafoun‘s Trucs is a rocking affair from start to finish, with a bit of mystery injected: the act is “sometimes solo, sometimes a duo, sometimes a trio and sometimes a quartet” (October 1).
Alan Licht‘s Havens is a double album with only six tracks, two that fill entire sides. This patient guitarist makes the time pass quickly with an electric approach (VDSQ, September 20). On the same label but the other end of the spectrum is Barry Archie Johnson, whose acoustic explorations are tender and filled with wonder. When the composer adds flute to the steel strings, the effect is sublime. Patrick Shiroishi guest stars on one piece. Fortune’s Wheel is out October 18. Alejandro Cohen fleshes out his guitar pieces with piano and percussion, allowing the breeziness of his Buenos Aires upbringing to shine through. The artist clearly has a thing for penguins, mentioning Penguin Orchestra and Penguin Cafe Orchestra in the liner notes, naming one track “Penguin” and offering Chamber of Tears on “Limited Edition Penguin Vinyl.” We wonder what he thinks of the TV show (Geographic North, September 6).
We’ve always considered saxophonist Colin Stetson to be wild and carefree, so the melancholic sound of The love it took to leave you caught us by surprise. This change in tone deepens our appreciation of the artist, who continues to push his instrument into new and exciting territories. While the album is brand new, Stetson considers it a prequel to New History of Warfare Vol. 1, an extension of a life-long story (Envision/Invada, September 13). “Avant classical art rock song cycle” is the tag for Bryan Perri‘s Few Words, on which the Broadway conductor stretches his wings and explores his multi-genre leanings. Exploration for Guitars and Strings is the dramatic – some might say theatrical – first single (October 18). Classic rock and prog are equally represented on Automata Flame, the new album from Will Pike, preceded by this teaser video (September 13). Sarine makes jazz psych with a trippy bent and a universal, trance-like vibe. Asas Terrenas is released September 30 on Futura Resistenza.
Electronic jazz ensemble Kinkajous presents the life-affirming Nothing Will Disappear, led by sax and piano, with a bevy of optimistic guests (Running Circle, October 18). Melos Kalpa‘s self-titled album features an array of distinctive instruments, from marimba, mandolin and Mellotron to violin and viola. The quintet casts a sonic spell, as if weaving a web of notes (Hands in the Dark, October 11). We love when an artist returns to making instrumental music; it’s like crossing over to the light side! After releasing a pair of albums with vocals, Folke Nikanor returns to the instrumental fold on Melodianien, writing about a fictional, folkish, fairy-tale-like country. The title track contains Medieval and spy film vibes (Sing a Song Fighter, fall).
Upupuyāma is one person in the studio, playing everything, and six people live. Mount Elephant is a joyous potpourri of international influences and instruments, psych-tinged and trance inducing. Lead single “Moon Needs the Owl (Part One)” starts off like The Fixx’s “Saved by Zero” before developing into a raga dream (Fuzz Club, September 13). Delving even deeper into raga is the Man from Atlantis, whose Hindustani tutelage pays off on Spirits Align. The album is already streaming in full, and has the feel of a meditation session crossed with a lively concert (Ramble, September 27). Echoes of the Unseen showcases the sound of Afghanistan’s national instrument, the rabab. Qais Essar provides a lively introduction for those unfamiliar to its timbre, and an energetic presentation for those who are. Dilruba, daf, tabla, bansuri and santoor play supporting roles (Worlds Within Worlds, October 11). Veteran Sun Araw remains as psychedelic as ever on Lifetime, creating extensive trance-like pieces that shimmer and flow (Drag City, September 27). Setting‘s at Eulogy shifts like an amorphous cloud, moving between ritual drone and progressive rock. We love the phrase “limbic dynamism,” used by the label to describe the release (DOSed, September 6).
It’s safe to say that a duo called Unicorn Ship Explosion is going to be fun, especially when their LP is called There’s a Rhinoceros in the Mega Church. We appreciate the title “This Yamaha Is Too Complicated,” having tried unsuccessfully to decipher the workings of a DX-7 a number of years ago. A punk attitude joins live and electronic influences to form a happy, convoluted whole (Sound Records, October 4). Another fun entry comes from Socks and Ballerinas (we love these names!), who are feeling A Bit Jumpy! and sharing their energy with fans through two new videos leading up to the September 27 release. The duo folds in math rock, prog rock, electronics and we suspect a whole lot of caffeine. “Money & the Drugs” is the first single from Party Dozen‘s Crime in Australia, a raucous explosion of saxophone and drums that screams Dance! The track was inspired by the sound of an airplane landing, which gives listeners some idea of what to expect from the live show (Temporary Residence Ltd., September 6).
The Necks “explore a sublime language of stillness” on Bleed, a single, 42-minute track that takes its time dancing on the edge of rock before slowly, slowly edging in (Northern Spy, October 11). The jazzy, piano-led Entity is the first album from Neal Cowley Trio in seven years, preceded by the playful single “Adam Alphabet.” Eagle-eyed readers may ask, “but wasn’t there a Neal Cowley album earlier this year?” Right you are; but that was a solo endeavor. The new album is released September 20 on Hide Inside Records. Danish folk meets Scandanavian jazz on Superkilen, from the duo Svaneborg Kardyb. We detect a bit of a rock groove as well (Gondwana, October 18). By performing live in front of 500 people, Hayden Pedigo captured American Primitive magic in his hometown setting. Live in Amarillo, Texas is out September 6 on Mexican Summer.
Forgetting You Is Like Breathing Water is a great name, and the duo’s self-titled debut is set for release on October 11. The timbres dances across jazz, shoegaze and post-rock, with trumpet and guitar the standout instruments (Unheard of Hope). Dean Drouillard‘s “not quite jazz” Mirrors and Ghosts is a showcase for the artist’s languid guitar style, demonstrated by single “Portland,” inspired by a long, peaceful drive (November 1). And in one of the season’s sweetest sonic tributes, Andrew Tuttle reinterprets the unfinished music of the late Michael Chapman on Another Tide, Another Fish, extending Chapman’s enduring legacy (Basin Rock, September 13).
Richard Allen