A CLOSER LISTEN weekly #51
Ukrainian Field Notes, interview with Nyokabi Kariũki, and recent reviews
Dear Listeners! Joseph here. Now that our Winter Music Previews have wrapped, we’re back with our first regular newsletter of the year. I usually send these out on Wednesdays, so apologies for being a day late. It’s been a busy start of the semester for me, as I mentioned in my post about our mix archive. I finished my dissertation last year and have been applying for permanent positions and looking for whatever work I can in the interval, meanwhile two of the three courses I was teaching as a course lecturer have fallen through. So thanks again to all our new subscribers, especially our paid subscribers, it really means a lot and helps me devote more time to ACL and Sound Propositions and to this space in particular. A few updates, the Cruel Diagonals podcast episode will be up in a few days, and my personal end of year column will be go out here over the weekend. The next seven podcast interviews have been recorded for a while, and I’ll try to get all those episodes out every two weeks going forward.
But in the meantime, 2024 has been off to a strong start, with many excellent albums already reviewed on the blog. We’ve also got the return of Gianmarco Del Re’s Ukrainian Field Notes and the latest UFN podcast (via ResonanceFM), as we near the two year anniversary of the Russian invasion of Ukraine (and the ten year anniversary of the Maidan Revolution). David Murrieta Flores interviewed Kenyan sound artist Nyokabi Kariũki about her music, her blog, and the relationship between sound and memory. And of course we’ve got a selection of our recent reviews and the archive of our Upcoming Releases page.
Before we get into that, I’ve been thinking about bands a lot lately. I attend live music events pretty regularly, and for a longtime most concerts that interest me involve one performer (an instrumentalist or electronic musician taking advantage of the affordances of laptops and effect pedals), or individual improvisors performing in various combinations. But when I was younger, playing in hardcore bands and DIY shows in venues around the Tri-State area, the default expectation was live music involved ensembles. Partly this reflects technological and economic shifts over the last two decades. Computers and consumer electronics have made it easier for artists to perform solo, while the margins for touring and releasing music have made it harder to split what little income there is many ways. But since the pandemic upended business as usual, the pendulum seems to have swung back the other way a bit. There is a renewed interest in guitar music, as I’ve previously mentioned, with artists like Giuseppe Ielasi and Andrew Pekler returning to the instrument after putting it down for many years.
But there’s also just something so unique to witnessing a live band do their thing. Shortly before the end of 2023 I spent a night at Ornithology jazz club in Brooklyn watching various musicians jump in and out of the ensemble playing jazz standards. I’ve been interested in jazz since I started playing the flute at age ten, and spent a lot of time with jazz musicians in and after college, even if my chops were never up to playing with them. And while I’m not always interested in virtuosity for its own sake, it was a refreshing change from the types of improvised music I’ve been a part of in the last decade or so. I don’t think I’d been in a jazz club like that since before the pandemic began, it was nourishing.
The first live show I saw in 2024 was the Fridman Gallery's New Ear Festival. I couldn’t afford to go all three nights, however, and while readers might have expect me to go see Taylor Deupree with Larum or the multi-channel diffusions of work by KMRU, Beatriz Ferreyra, and Stephen Vitiello’s tribute to the late steve roden (all of which I really wanted to hear), I chose instead to go to the night curated by Amani’s Still/Moving. The night began with two short films followed by performances from T’nah, Pink Siifu, and Bilal. I wasn’t previously familiar with T’nah but she and her band killed it. T’nah is an absolute star and I was equally blown away by several members of her band, her backing singers, and drummer KUMBAYA who really shined when they spit a guest verse as the end of the set. “I hope you’re not a square / when you take shape.” Oof. As I understand it was the first time they’d realized these songs with this live configuration, but even so the band was smooth as butter. Some of the same musicians were also in the group that backed Siifu, which was mostly a success and an interesting departure from his recordings. I’ve been a fan of Siifu’s for a minute now. I think he first popped up on my radar around 2016 during his LA period, collaborating with Swarvy on the fringes of the beat scene, around the same time I tapped in with Cavalier and Iman Omari. In more recent years I’ve loved his features with Armand Hammer, his projects with AKAI SOLO and Awhlee and Real Bad Man, not to mention his solo work. The performance at Fridman wasn’t always a success, however; some of the crescendos felt a bit pat, like the band wasn’t accustomed to what they were doing and were just told to freak out before reigning it in and returning the groove. If I recall the bass in particular wasn’t hitting for me. But it was an enjoyable performance on balance. And lastly Bilal’s performance didn’t involve him singing, unfortunately, but instead engaging in some quite uninteresting attempts at performance art, with female dancers in leotards covering themselves in paint while rolling around on the floor. As someone who went to a (public) art college, it’s the kind of thing I’ve literally seen many versions of many times, and it didn’t really succeed in justifying itself to me, or billing the performance as a Bilal show. It’s like the first idea of how to make a concert into “performance art” because the show was in an art gallery, and you should never commit to the first ideas. Still, I kind of respect the bait and switch, even if I kept holding out hope that he’d eventually sing. All that said, his band was probably my favorite of the night, centered around Moroccan gnawa musician Samir LanGus’ but instead of karakeb (which he switched to towards the end of the set), the beat was held by drummer Cinque and percussion from Tariq Khan, guitar, flute, and trumpet flourishes from Keen, and a few other musicians I’m forgetting.
Now back in Montreal, just the other night I saw L’Rain at bar Le Ritz. I’ve spent less time with I Killed Your Dog (2023) than I have with the excellent Fatigue (2021), but maybe I just need more time with the latest record. In any case I hadn’t seen L’Rain before and it was a treat to see a band who were really in tune with one another. There’s something about the give and take of live ensembles that is just so different from electronic beats. L’Rain’s music also has such an odd quality to it, there seems to always be a kind of absent structure around which the parts are organized, as if the skeleton had been ripped out but the body still manages to keep moving. I don’t mean this as a criticism, but instead trying to account for the this feeling that makes L’Rain as a band stand out. When they first began, Taja Cheek aka L’Rain was on guitar and vocals, with longtime collaborator Ben Chapoteau-Katz’s left hand on bass synth duty. This meant that the sub-bass frequencies were deep, but not quite connecting with the equally loud drums in quite the way I wanted. But then after a couple tunes Cheek switched to electric bass and L’Rain the band really came alive for me. Many of the band members are multi-instrumentalist and they changed configurations frequently throughout the set, which kept things dynamic, but it was also clear that there was a good amount of improvisation that kept things interesting for them as well.
I don’t have a clear point to tie things up with, this is just all to say that I'm experiencing a renewed interest in bands that seems to be perhaps part of the wider zeitgeist, and it’s something I’ll keep thinking about as the year rolls on. Now let’s get into it.
Of Sound as Memory ~ An Interview With Nyokabi Kariũki
Nyokabi Kariũki has emerged as an exciting new voice in experimental music over the past few years. We will let her do the introductions herself, but it’s worth highlighting the blog she keeps over on her website, where you can find excellent essays like “On Learning That One of the First Electronic Works Was By an African, Halim El-Dabh” and more of her thoughts on music. We interviewed her via email, so the text has been edited collaboratively by both the interviewer and the artist, in an exchange that lasted some months throughout 2023. The main topic of the conversation is feeling body, her latest album.
David Murrieta Flores (ACL): Hi Nyokabi! Please tell us a bit about yourself and the kind of work you do, for readers out there unfamiliar with your music.
Nyokabi Kariũki (NK): Hello! I am a composer and experimental sound artist, and I perform too. I was born and raised in Nairobi, Kenya, and then went to university in New York for music composition. From then on, I’ve just been music-making in different places — it’s become quite difficult to say where I’m based now, perhaps because I’m still trying to figure it out.
In my work I’m often exploring sound as emotion, sound as messenger, sound as memory. Sound feels so limitless, and so I love to experiment with it in different ways. My thing is sort of finding ways to ground my experimentation in African thought, whether it’s pulling from creators that came before me; applying concepts from non-musical African contexts into that of music-making; or simply positioning the languages of my heritage at the forefront of how I communicate in my music. It’s a journey, often a mix of many feelings, and often a combination of me searching for things, and things revealing themselves to me at the same time. I’m enjoying watching it unfold.
Something I’m realising about this journey is how my music also tends to stick quite close to my own lived experiences (it’s not always intentional!), but I reckon that’s because music has always been there in my life to help me process through things. In March, I released a record called FEELING BODY, where I was reflecting on being sick for a large part of 2021. It was hard to write, but I’m really proud of the work, and it’s also been really interesting getting into more live performances of that music this year.
ACL: I’d like to ask you about the title, FEELING BODY. It ties the body to expression, sentiments, but it possibly also points at a special kind of body – different, say, to a “thinking body”. In your perspective, are there various kinds of bodies? How do they relate to each other?
NK: Yes, it absolutely refers to “body” on multiple fronts. I think firstly and most importantly, it refers to the sick body. We perceive the world through a vessel that we understand to be a “body”, but often, we forget to listen to it when it needs us to (yet it is constantly listening to us). Being sick pulled my attention back to that understanding.
The other “body” that became a part of the record was that of water; I was thinking of this blurring between a “water body” and “human body”. The album art is by a dear friend Serena Seshadri, and she titled it Someone between body and water. I thought that was perfect visual accompaniment to the music I’d created, because in many cultures and communities (including in my own, the Kikuyu), water and healing go hand in hand. When I was sick, I would take these long baths that offered some kind of solace when I’d have these debilitating headaches. So in the record, you hear water in different forms, like droplets from a tap or ice crackling, and then in the final song you hear the biggest water body of all — the ocean.
The second part of your question, of how these various kinds of bodies relate to each other is interesting, because I think the concept of a body is inherently about various things relating to each other. Another “body” I was thinking about is the mind, seeing it as an entity that was in constant conversation with the physical body — but feeling frustrated that they weren’t speaking the same language when I was sick.
Ukrainian Field Notes XXIX
Coming up to the second anniversary of the Russian full-scale invasion, we are back with a new episode of Ukrainian Field Notes. Vlad Yakovlev talks to us about Ukrainian folk from the 90s, while Paloven introduces the first Regular Disco compilation. We then look at sound and the visual arts with Yarema Malashchuk and Roman Khimei while Khrystyna Kirik talks impro and performative projects. User Kyx and Rozpusta talk about the different war sounds in Cherkasy, while Valeria Obodzinska reflects on burnout from Kyiv and MissDye looks for diversity within electronic music.
To round things off, Surie presents his latest release on Kashtan and we get a sonic postcard delivered directly by Postman from Poland while Hidden Self talks bayraktar-core from Greece.
New releases include Waveskania, wakalos, La Horsa Bianca, Vera Logdanidi, Artem Baburin & Dmytro Avksentiev, Deadspacer, Anna Pidgorna and Andrii Barmalii X Olexandr Yavdyk X Khrystyna Kirik.
But to begin with, it’s a great pleasure for us to present a preview of ummsbiaus and Difference Machine‘s new collaborative project on our monthly podcast for Resonance FM. This is followed by our usual spotify playlist.
Tracklist:
ummsbiaus and Difference Machine: “торований шлях”
ummsbiaus: “Lichylnyk”
Difference Machine: “боротьба за вбивство / боротьба за виживання”
ummsbiaus and Difference Machine: “коло зачароване”
ummsbiaus: “Hypnagogia”
RECENT REVIEWS
Reviews are at the heart of ACL. Here are (excerpts from) a few of my favorite reviews we posted on the blog in the last few weeks.
Brian Harnetty ~ The Workbench
How much of a person’s essence is imbued in the objects they collect? The more personal the object, the greater the usage, the more likely it retains a particle of the owner. When Brian Harnetty inherited his father’s workbench, typewriter, and an array of radios and miscellaneous hardware, he began to ask such questions. Could these objects speak of his father Paul, not only in associations, but in actual sound The Workbench is a single, 11-minute composition, offered in both primary and instrumental versions. While they seem similar, they bear unequal amounts of weight, which seems to prove Harnetty’s thesis. The instrumental version begins with wistful violin, which establishes a mood of mourning even before the piano enters. This is a tender composition; one need not know the subject in order to intuit its inspiration. Once the cello enters, the mood turns even more solemn, and for a time, the piano notes grow sparse, as if witnessing to the gap left by the loss of a life. In the third minute, the bass clarinet arrives to flesh things out, like memories rushing in, the treasury of experiences balancing the sorrow of loss. The center is akin to a folk dance. When the central melody returns, it is swifter and brighter. [Check out this 2021 episode of Phantom Power for more on Harnetty’s work.]
Funken ~ Daniel dans la nuit
An instantly endearing release, Daniel dans la nuit is an illustrated children’s book by Carmela Chergui and Timo Hateau, with an original score by Funken. This is a huge untapped market, and we’d like to see more of these, because we’re already in love! The beautifully illustrated tale is about a litte squid who sneaks out during the Night of the Periwinkles and wakes up everyone he knows. While the text is in French, children of all nations should be able to follow the story. The father looks like a grumpy jelly bean, but all of the other denizens are cute and appealing: an eel with reading glasses, a crab playing the banjo, and in the wonderful closing spread, happy, glowing periwinkles!
Koenraad Ecker ~ Raw Materials
Ecker’s earlier work with his other projects, Lumisokea, with Italian musician Andrea Taeggi, and Stray Dogs with fellow Belgian musician, Frederik Meulyzer, feature seamless combinations of bristling drones, elements of noise and musique concrète, propulsive industrial-style rhythms that are both nimble and sharp-edged, and assiduous attention to sound production. (If you’re interested, check them out here and here.) With Raw Materials, Ecker takes a different tack. In drawing on close-up and immersive recordings of water, stone, and in one case, the sound effects of domestic life, Ecker is looking to make rudimentary elements speak. To do so he fashions sonic narratives, defamiliarizing assemblages of sound, that become sites of buried and accumulated histories.
Loula Yorke ~ Volta
The tone is ambient, the timbre electronic; Loula Yorke‘s modular synthesizer compositions create a trancelike state that is eminently relaxing, especially now that the occasional drums of Florescence have gone. This is less of a sea change than a gentle shift, emphasizing an aspect of her music that has been there all along. The opening track comes across as an overture, the title the last line of a Robert Bly poem: “It has been decided that if you lay down no-one will die.” And while someone may die while you rest, it’s highly unlikely and not deserving of the worry, which is Yorke’s point, and Bly’s: think in ways you’ve never thought before. The entire album is about cyclical time, the idea that seasons, physical and metaphorical, always come around again.
Shelf Nunny ~ Pronoia
Pronoia is the opposite of paranoia: the idea that fate is conspiring for a person, that others’ intentions are benign, and that everything is working toward the good. While this attitude, like paranoia, may exist outside of reality, it may also become a self-fulfilling prophecy; positive thoughts attract positivity. In the year leading up to this album, Shelf Nunny adopted pronoia, with pleasing results. As January is a time for new beginnings, the music invites listeners to do the same. And like Janus, who looks forward and backward at the same time, this album exists in two versions, that one might call paranoid and pronoid. The difference is one of sequencing; depending on which version one encounters, “dnt L3@v3 m3 ft sim1 bby” is either the first track or the last. While vocals are rare in Shelf Nunny’s music, this track contains the phrase, “Don’t leave me.” In the opening spot, it becomes the tragedy that engenders growth: a formative experience that is incorporated into a healthier mindset. But as the closer, it suggests the progress crashing down, the artist left even worse than before. We lean toward the pronoid interpretation; although there is a third possible take that we’ll get to at the end of this article.
V/A ~ Quantized Realities – Communication
This short follow-up to last year’s Quantized Realities – Technology continues to investigate the ways in which technology distorts human perception. As Errorgrid leader Olivier Bernard Egli declares in the liner notes, human beings are exposed to “more data containing less meaning” than ever before, as “a lack of scrutiny” allows false narratives to proliferate. Are the images we see “real” or altered? Do the soundbites we hear come from the sources they claim? If everything can be deep faked, can anything be trusted?
zakè ~ Lapis / David Pedrick ~ Kernow
In a fast-paced world, cold weather can be a useful cue to slow down. Ambient music offers precious respite, whether we stay home in the warm or watch the steam rising from a crowded street. I relistened to today’s albums on a freezing bus, the pavements frosty and the sun still rising. Neither is a card-carrying winter album (one of them is autumnal!) – but the mood was just right. These albums belong to a subset of ambient music with no sudden movements, where an instant is held and extended. Wrap up warm and be subsumed by the moment. Founder of Past Inside the Present, prolific collaborator, and sizable solo performer, zakè is a force in the contemporary ambient scene. Released by Quiet Details, Lapis prioritises crisp, glacially moving tones – cold yet comforting, like the other side of your pillow. Using keys, synth, tape, and field recording, zakè pursues the logic of the loop, which progresses indiscernibly by repetition and gradual reshaping. The album opens with its longest track, “vow”, offering a twelve-minute promise in a vast circle of trust. Each iteration of looped sound has its own rise and fall, its own counterpoints of tone and texture. A relentless procession of micro-drama washes over us.
UPCOMING RELEASES
(complete list with Bandcamp links here)
Suffering from the mid-winter blues? The winter release slate has begun to ramp up, with hundreds of albums already in the works. Some reflect the dueling textures of the season: soft as falling snow, harsh as winter winds. Others sing of the warmer months to come. We’ve even begun to receive announcements for spring releases! Whatever the weather, there is always something to look forward to, with new music constantly on the horizon. New previews are added to this page daily; we hope that you’ll find your next favorite album right here!
Abdullah Ibrahim ~ 3 (Gearbox, 26 January)
Annie Aries ~ It’s Not Quiet in the Void (Everest, 26 January)
David Wallraf ~ The Commune of Nightmares (Karlrecords, 26 January)
DB & the Soho Nine-Six ~ S/T (Mariposa Groove, 26 January)
E-Saggila ~ Gamma Tag (Northern Electronics, 26 January)
EUS ~ Vergel (BLWBCK, 26 January)
Francesco Meirino ~ A Perpetual Host (Misanthropic Agenda, 26 January)
Jonas Albrecht ~ Schrei Mich Nicht So An Ich Bin In Trance Baby (Irascible Distribution, 26 January)
Jzovce ~ Une nuit qui ne cesse de tomber (BLWBCK, 26 January)
Kalaha ~ Nord Havn (April Records, 26 January)
Lacchesi ~ Based on a True Story (Maison Close, 26 January)
Leslee Smucker ~ Breathing Landscape (Beacon Sound, 26 January)
Lumpeks ~ Polonez (Umlaut, 26 January)
Mike Cooper & Pierre Bastien ~ Aquapelagos Vol. 2: Índico (Discrepant, 26 January)
or best offer ~ Center (Ba Da Bing!, 26 January)
Point of Memory ~ Void Pusher (Misanthropic Agenda, 26 January)
Salvatore Mercatante ~ Ø (A Strangely Isolated Place, 26 January)
Shelf Nunny ~ Pronoia (26 January)
Six O’Matic ~ Sky Allusions (26 January)
A Sudden Burst of Colour ~ Galvanize (26 January)
Sumner James, Robert Chamberlain, Volcano Lazerbeam & Saroon ~ Dive 1: Refraction (Bathysphere, 26 January)
Various Artists ~ Flux Gourmet OST (Ba Da Bing, 26 January)
Various Artists ~ The Stills Series (String and Tins Recordings, 26 January)
Vertex Loop ~ Cataclysmic Events (GRAPH, 26 January)
Antonio Tonietti ~ No Longer Human (Dissipatio, 27 January)
Gregory Paul Mineef ~ so many, diminishes (Whitelabrecs, 27 January)
Mia Barham ~ Inwards (28 January)
Ben Glas ~ Fugal States (Room40, 30 January)
Jiyoung Wi ~ Accept All Cookies (enmossed, 30 January)
Makoto Oshiro ~ Stacked (enmossed, 30 January)
HMOT ~ The Moon Turned Into the Sun (Kota Tones/Beacon Sound, 1 February)
Humming & Stone ~ Imago (1 February)
Poppy H ~ Grave Era (Cruel Nature, 1 February)
Allison Burik ~ Realm (2 February)
Braille ~ Hot as Hell (Hotflush, 2 February)
CAIV ~ Dwellers (Tresor, 2 February)
Chaperone feat Nazanin Noori ~ motion like catching balance on the moving train (enmossed, 2 February)
Ches Smith ~ Laugh Ash (Pyroclastic, 2 February)
Concepción Huerta ~ The Earth Has Memory (Elevator Bath, 2 February)
CURA MACHINES ~ NEURO (Bedouin, 2 February)
Francisco Mela & Zoh Amba ~ Causa y Efecto, Vol. 2 (577 Records, 2 February)
IKSRE ~ Abundance (Constellation Tatsu, 2 February)
kmodp ~ Crimée No. 7 (2 February)
Manu Delago ~ Snow from Yesterday (One Little Independent, 2 February)
Meg Mulhearn ~ Let It Burn Through the Night (Ceremony of Seasons, 2 February)
Mike Cooper And Friends ~ Soprano – An Homage to Lol Coxhill (Room40, 2 February)
Panghalina ~ Lava (Room40, 2 February)
Randal Fisher & Dexter Story ~ Wenge (Constellation Tatsu, 2 February)
R. Weis ~ The Reaper & Me (2 February)
Sascha Muhr ~ Keiko (2 February)
su dance110 ~ Stille Oper (Feral Note, 2 February)
Telo Hoy ~ Rubber Wing (2 February)
toechter ~ Epic Wonder (Morr Music, 2 February)
ZEGEL ~ Forens (3 February)
Champagne Dub ~ Rainbow (On the Corner, 8 February)
Wil Bolton ~ Null Point (The Slow Music Movement Label, 8 February)
A-Sun Amissa ~ Ruins Era (Gizeh, 9 February)
Derrick Stembridge | Mike Petruna ~ Cryptic Logic (Labile, 9 February)
Fer Franco ~ Ritos de Peso (9 February)
Kali Malone ~ All Life Long (Ideologic Organ, 9 February)
Kenn Hartwig ~ Gameboys & Pedals (Anunaki Tabla, 9 February)
Lyndhurst ~ Caves (9 February)
Orphax ~ Structure (9 February)
SabaSaba ~ Unknown City (Hands in the Dark, 9 February)
Lisa Ullén ~ Heirloom (fonstret, 12 February)
Philippe Petit ~ A Divine Comedy (Cronica, 13 February)
Hexorcismos ~ MUTUALISMX (Other People, 15 February)
OdNu + Ümlaut ~ Abandoned Spaces (Audiobulb, 15 February)
Raoul Eden ~ Amina (Scissor Tail, 15 February)
aadja ~ pyrocbs (Trip Recordings, 16 February)
Adriaan de Roover ~ Other Rooms (Dauw, 16 February)
Bios Contrast & Nilotpal Das ~ blackmagix.asd (16 February)
C. Diab ~ Imerro (Tonal Union, 16 February)
Cody Yantis ~ Opticks (Flaming Pines, 16 February)
Hieroglyphic Being ~ Quadric Surfaces (Viernulvier, 16 February)
Iñaki García ~ Rainbow (Bigo & Twigetti, 16 February)
ism ~ Maua (577 Records, 16 February)
Julia Govor ~ Laika and Ulka Were Here (Semantica, 16 February)
mega cat ~ S/T (Share It Music, 16 February)
Miharu Ogura ~ Ogura Plays Ogura (thanatosis, 16 February)
Nat Scheible ~ or valleys and (Outside Time, 16 February)
V/A ~ I hate music, especially when it is played (NIX, 16 February)
Henrik Meierkord ~ Proscenium (Whitelabrecs, 17 February)
Luis Meihlich ~ Re-Cartographies (Whitelabrecs, 17 February)
Shane Bloom ~ Release (17 February)
Shugorei & Black Square String Quartet ~ The Sounds of Chow Gar (4000 Records, 20 February)
Geotic ~ The Anchorite (Basement’s Basement, 21 February)
Petar Klanac ~ Sept cordes (22 February)
Aviva Endean | Henrik Olsson ~ Split Series Vol. 2 (FRIM, 23 February)
David Grubbs & Liam Keenan ~ Your Music Encountered in a Dream (Room40, 23 February)
Drifting in Silence ~ Winters Past (Labile, 23 February)
Eric Hilton ~ Sound Vagabond (23 February)
Gregory Uhlmann ~ Small Day (Colorfield, 23 February)
Jaime del Adarve ~ Las Horas (piano and coffee records, 23 February)
Kim Myhr & Kitchen Orchestra ~ Hereafter (Sofa, 23 February)
Marco Paltrinieri ~ Rapari Minimi (Canti Magnetici, 23 February)
Maya Shenfeld ~ Under the Sun (Thrill Jockey, 23 February)
MINING ~ Chimet (Leaf, 23 February)
Gonçalo Almeida and Pierre Bastien ~ Dialogues and Shadows (Futura Resistenza, 27 February)
Limpe Fuchs ~ Pianoon (Futura Resistenza, 27 February)
Amaro Freitas ~ Y’Y (Psychic Hotline, 1 March)
cerrot ~ Butterfly Effect (trip recordings, 1 March)
The Corrupting Sea ~ Cold Star: an homage to Tangelos (Somewherecold, 1 March)
Eva Novoa ~ Novoa / Gress / Gray Trio, Vol. 1 (577 Records, 1 March)
Leonidas & Hobbes ~ Pockets of Light (Hobbes Music, 1 March)
Matteo Cambò ~ Paradoxum (L’Archipel Nocturne, 1 March)
Muddersten ~ Triple Music (Sofa Music, 1 March)
nubo ~ Planetary Vision (Western Vinyl, 1 March)
Sarah Belle Reid ~ MASS (Extended + Remastered) (1 March)
David Shea ~ The Ship (Room40, 2 March)
Li Yilei ~ NONAGE (Metron, 6 March)
Aiden Baker ~ Pithovirii (Glacial Movement, 8 March)
Dabrye ~ Super-Cassette (Ghostly International, 8 March)
Doc Sleep ~ Cloud Sight Fade (Dark Entries, 8 March)
Hanno Leichtmann / Valerio Tricoli ~ Cinnte le Dia (NI VU NI CONNU, 8 March)
HJirok ~ S/T (Altin Village & Mine, 8 March)
Naum Gabo ~ F. Lux (8 March)
Nexcyia ~ Endless Path of Memory (Pensaments Sonics, 8 March)
UFO95 ~ Backward Improvement (Tresor, 8 March)
Federico Ughi et al ~ Infinite Cosmos Calling You, You, You (577 Records, 9 March)
AnD ~ When Stars Collide (Instruments of Discipline, 11 March)
Kane Pour ~ The Last Wave (sound as language, 15 March)
Michael Vincent Waller ~ Moments Remixes (Play Loud, 15 March)
Christopher Hoffman ~ Vision is the Identity (Out of Your Head, 22 March)
Menchaca/Noga ~ Activity of Sound (22 March)
Ogive ~ Opalecentia (Room40, 22 March)
Ryan Teague ~ Pattern Recognition (Bigo & Twigetti, 22 March)
Aron Porteleki ~ Smearing (blindblindblind, 23 March)
Farah Kaddour ~ Badā (Asadan Alay, 29 March)
Jinjé ~ Escape from Luna (Mesh, 29 March)
Jacob Parke ~ Space Cadet 64 – World Record Nintendogs + Cats Speedrun July 17 (1 April)
A Lily ~ Saru I-Qamar (Phantom Limb, 5 April)
Matthew Shipp Trio ~ New Concepts in Piano Trio Jazz (ESP-Disc’, 5 April)
sleepmakeswaves ~ It’s Here, But I Have No Name for It (5 April)
[Ahmed] ~ Wood Blues (Astral Spirits, 12 April)
Silvia Bolognesi / Dudú Kouate / Griffin Rodriguez ~ Timing Birds (Astral Spirits, 16 April)