A CLOSER LISTEN weekly #56
An interview with Aho Ssan, Ukrainian Field Notes, and
Listeners, Joseph here for another regular newsletter collecting the best of the blog. David Murrieta Flores chats with Aho Ssan about philosophy, film, and France. Gianmarco Del Re’s Ukrainian Field Notes XXXI includes the latest episode of the UFN podcast for Resonance.FM as well as an exclusive mix from be_ca_di to mark the release of the V/A FUNDRAISER COMPILATION “24.2.24.” And in addition to a selection of reviews (including great new records from Moor Mother and Rafael Toral), I’ve also prepared another batch of ten mini-reviews. And as always a freeze frame of our constantly evolving list of Upcoming Releases. The second quarter of 2024 is about to heat up.
But I’m always feeling a bit out of synch, particularly today as Montreal woke up to about 8 inches of fresh snow. April truly is cruel. So I’m thinking back to 2020, that first lockdown of the pandemic for what was still winter in Montreal. On 21 March 2020, just a little over four years, I released EVERYONE IS BORED, the first of 14 mixes I made during the lockdowns of 2020, seven in the spring and seven more that fall. They hold up pretty well and are eclectic representations of my mindstate at the time, so check it out:
Ukrainian Field Notes XXXI
Welcome to a new streamlined episode of Ukrainian Field Notes. This month, we interviewed Mariana Bondarenko head of music and Iryna Lobanok Music Programme Manager at the Ukrainian Institute for our regular podcast on the London based community radio Resonance FM.
The interview came about within the framework of Grace Note, the newly launched programme aimed at supporting and promoting Ukrainian music on the international level through strategic placements in foreign media outlets.
The Ukrainian Institute’s mission is to strengthen Ukraine internationally and domestically as a subject using the tools of cultural diplomacy. The Institute promotes better knowledge and understanding of Ukraine internationally, and develops cultural relations between Ukraine and other countries.
Mariana and Iryna talk about the main challenges that have unfolded since the beginning of Russia’s full-scale invasion within the cultural sphere and the financial constraints the Institute has had to contend with.
In addition we have an exclusive ambient mix by be_ca_di to mark the release of the V/A FUNDRAISER COMPILATION “24.2.24” on his ОЧІ label.
The Feeling of Everything ~ An Interview With Aho Ssan
Aho Ssan is a key player of French experimental music, and has garnered wide international attention for his felt, yet richly philosophical approach to sound assemblage. His last album, Rhizomes, was among our favorite albums of 2023. We talked to the artist mostly over voice notes, so the interview you’re about to read is a transcript of the exchange (a part of it from December 2023, another from March 2024). It has been formatted for clarity, with editorial additions mostly marking interventions from the interviewer for the sake of text flow and coherence.
Here is an excerpt:
David Murrieta Flores (ACL): Given your career in cinema, I’d like to ask you about montage and music. Do you approach combination or synthesis in music like you do in film? What is potentially rhizomatic about one or the other that makes them similar or distinct?
Aho Ssan (AS): I would say the similitude begins with the fact that I learned about dramaturgy, and then about music and cinema in general. So for example, in Simulacrum I try to [give drama] to the album, so in the “Intro” and the “Outro” I’m showing an evolution of the character of the drumming. It is something that in film they use a lot; a character has its own theme, so it’s something I did in Simulacrum to show and exhibit the journey of this character, to show its evolution. I do the same in Rhizomes, for example, with the first and last rhizomes, in terms of the similitude of style and motif but now totally changed. A track like “Cold Summer” is a track in three acts: you have the beginning element, climax and resolution, it’s something I really love to do in music. Where and when you put a silence changes the whole dramaturgy. So I think my way to make music and my way to make cinema are very similar. I would say that montage is more abstract, more instant, just a montage of different frequencies. I’m not trained as a musician, so it’s really the dramatic – “oh, I can feel all the emotions” that the frequencies give me when they are all together, or when I leave a silence there, [that are key]. I would say it’s not just cinema, but also just emotion for me.
ACL: Do you conceive of a difference between hybrid and synthesis?
AS: Not really. Actually, I’m not thinking about it when I’m making music, thinking about differences between them. It’s more about the emotion in the music. How these sounds sound for me and how they give me a sensation or not, how they give me this way to just lose myself into it. It’s more connected to emotion and response [to it] than hybrid and synthesis, to me.
It is always really difficult for me to talk about emotion. I have the intention to [provoke] certain emotions in people, but I know everyone has their own way of thinking, it’s so personal. After Simulacrum I had so many conversations with people telling me what they were seeing or feeling during a concert, [and] it changed my way of seeing the relationship between music and experience a bit. But personally, yeah, [emotion] was definitely one of the most important things in the music. It was using some effects, some tools to [provoke] a specific emotion. It’s not random that I’m using a lot of saturation or a lot of harsh sounds, a lot of high frequencies. It’s because it was part of this concept and everything I was feeling about being black in France. So of course I can’t say like “oh I want it to be […] uncomfortable [for everyone]”, but it was my way to [develop] this relationship between something that can be felt as beautiful and also threatening. The balance between the silence and the loud part is something really important for emotion. After all, [when I made] Simulacrum it took time for me to express well what I was trying to say. Before that I felt a bit speechless, so it was important that there was no such thing as vocals in the album.
However, the difference between silence and loudness is part of my personal emotion. I’m quiet most of the time, but I’m inside an emotion. It also has something to do with a personal taste in music. I really love beautiful orchestral music, so while I was trying to [provoke] all these emotions in a package – montage, as you said – it was really important for me to bring this moment of beauty to listeners. Because, almost at the end, it has to be peaceful and beautiful as a way to say there is some hope. I hope! [laughs]
Mini-Reviews
Short highlights
Adam Wiltzie ~ Eleven Fugues For Sodium Pentothal
Adam Wiltzie is best known for his work in duos (Stars of the Lid, The Dead Texan, A Winged Victory for the Sullen), with solo work mostly limited to film scores and rarities. Travels In Constants Volume 24 (2015) featured string recordings from the The Budapest Art Orchestra, perhaps some of the same that end up in new form on Eleven Fugues For Sodium Pentothal. Whatever the processes, this record, mixed by Robert Hampson (Loop, Main), is one to get lost in.
Angry Blackmen ~ The Legend of ABM
2024 has already been a strong year for hip hop. The same month that Bruiser Wolf dropped the excellent My Stories Got Stories, the first great rap record of the year, this Chicago rap duo said hold my beer. Boosted by chaotic icy electronic production from Formants, and features from Shariff and Skech185, MCs Quentin Branch & Brian Warren have arrived.
August Fanon ~ 1+1
The latest tape from producer August Fanon collects beats he’s made since moving to Brooklyn. Known for his work with the likes of Armand Hammer, Mach-Hommy, Navy Blue, and Vic Spencer, it’s always worth tapping in when August Fanon opens the vaults.
Beans ~ ZWAARD
Beans is best known for his time in the underground hip hop group Antipop Consortium, who distinguished themselves for their inventive and experimental use of electronics in their productions and, especially, in their live performances. As a solo artist, Beans has continued to push the boundaries, working with producers including Dabrye, Holy Fuck, and Four Tet. So if anyone could rhyme over an album’s worth of beats by Vladislav Delay, it’s Beans.
Jules Archive ~ Platonic Tales
The latest from Marco Marzuoli and Marco Mazzei finds the Italian duo recruiting contributors (Andrew Weathers,Lino Capra Vaccina, Jefre Cantu Ledesma, and string arrangements by Christina Vantzou, Minna Choi and Magik*Magik Strings) to recreate songs the duo had originally created using melodic tape loops.
Ka Baird ~ Bearings: Soundtracks for the Bardos
11 recordings documenting New York vocalist and multi-instrumentalist Ka Baird’s visceral and gestural compositional performance practice developed during the pandemic, utilizing parabolic microphones and theatrical movements. Joined by a cast of contributors (including gabby fluke-mogul, Greg Fox, Jon Mueller, Chris Williams, and Nate Wooley), Bearings is an early contender for album of the year.
Roland Kayn ~ Athary NLX
Every month sees the release of new work from legendary composer Roland Kayn, sterwarded and mastered by Jim O’Rourke. March’s installment, Athary NLX, is a particularly compelling example.
THE LASSO ~ TEARS OF SOUND
Mello Music producer The Lasso greatly impressed me with his work on Small Bills with ELUCID. Here he set himself the task of making an album using only short vinyl samples chopped and arranged in the DAW. But you don’t have to know or care about the production process to enjoy TEARS OF SOUND.
Wil Bolton ~ Null Point
Wil Bolton makes a subtle shift in emphasis on Null Point, drifting closer into beat-led ambient territory with an evolving take on minimal rhythms and loops. Mastered by Ian Hawgood and released by The Slow Music Movement, you know it sounds great.
9T Antiope ~ Horror Vacui
The latest from Iranian expat duo 9T Antiope, on the great American Dreams label, find the production and vocal exploring new territory. Out on 12 April.
Reviews are at the heart of ACL. Here are selections from a few of my favorite reviews we posted on the blog in the last few weeks.
Bernd Herzogenrath & Lasse-Marc Riek ~ @ovid’s Metamorphoses
@ovid’s Metamorphoses is an expansive, multi-media project, including 7 CDs, 2 data DVDs and a 200-page book packed with art and text. An astonishing 133 international artists participated in the project and produced 152 works of film, sound, text, drawings, photos and paintings, compiled while playing 19 games of exquisite corpse. How in the world did Frankfurt professor Bernd Herzogenrath, in association with Lasse-Marc Riek of Gruenrekorder have the time to organize such a project? The easy answer, referenced in the title, is COVID. We all had a lot of time on our hands over the course of those lethargic years, but few of us put it to such good use. While not quite as long as Ovid’s Metamorphoses, the release references the narrative poem, itself a collection of myths, and suggests a new narrative network, a burst of creative strength in a time of societal stagnation.
Moor Mother ~ The Great Bailout
Seldom does an album catch a listener so off guard, enthralling and entertaining in equal measure. The Great Bailout is another in a string of confrontational triumphs for Moor Mother (Camae Ayewa), who was last heard on Aho Ssan’s Rhizomes. The collaborations continue with Mary Lattimore, C. Spencer Yeh and a host of independent luminaries united for a common cause: the exposure of colonialist atrocities by Britain. The central crime: the Slavery Abolition Act of 1833, which provided compensation to slave owners for the loss of “their property” while keeping unpaid slavery going for another four years. Moor Mother traces the history of the financial landfall not only to Britain’s architecture, but to the nation’s reigning politicians and corporations.
Rafael Toral ~ Spectral Evolution
To describe Rafael Toral’s Spectral Evolution as guitar music would be like calling Beethoven a composer: A grave understatement. No album of guitar music has ever sounded quite like this. Toral initially made a name for himself in the 1990s with the release of several now classic albums of guitar-driven drone/ambient work including Wave Field and Sound Mind Sound Body. Over the last two decades though he has just as often traded in his guitar to experiment with the harmonic and performative possibilities of electronic instruments. Through what he calls his “Space Program,” Toral has been working extensively with electronic instruments, experimenting with modified amplifiers, oscillators, and synthesizers, and developing instruments such as the Echo-Feed, whose theremin-controlled dynamics produce several sounds, including a bird-like voice that is a frequent presence on his latest album.
Sarah Belle Reid ~ MASS (Extended + Remastered)
Sarah Belle Reid’s remastered and extended MASS follows on from the earlier EP she released under the same title in 2021, adding to the existing core of the work (Passage, Collide, Mass) two new compositions (“Vessel” and “Sublimate”). pays homage to all these artists-explorers and experimenters whom the artist listened to extensively before embarking on the creation of the album. Some of her companions in the making of MASS were, as she cites, Else Marie Pade, Daphne Oram, Eliane Radigue, the Locust, Edgard Varèse, Maryanne Amacher, Dick Raaijmakers, Naked City, Mr. Bungle, and Thomas Ankersmit. Sarah Belle Reid’s personal trajectory of discovery from formal musical education as a trumpeter towards the more open framework of Fine and Musical (perhaps Sound) Arts can explain her willingness and aptitude to constantly break, subvert and self-sabotage her own voice in MASS. Everything is constantly negotiated and morphed into something new in the album. Mastery perhaps becomes mockery (in a good and critical sense) and vise-versa. One might feel they are exposed to some “heavy and serious” electroacoustic masterpiece only for such a certainty to be exploded into grains of noise in the seconds to come, such as in the 11 minute opus “Sublimate.”
sleepmakeswaves ~ It’s Here, But I Have No Names For It
Four years have passed without a new album from sleepmakeswaves, and from the sound of the new set, it seems that the Sydney post-rockers had a lot of pent-up energy to release. This is the best possible news for long time fans. The press release accurately calls it “a majestic return to the classic hallmarks of the band’s melodic post-rock sound.” The strings, which vanished on 2017’s Made of Breath Only, have returned. The vocals, which appeared on 2020’s these are not your dreams, have been excised. (We still feel guilty about expressing our instrumental preference back then, but as it turns out, we weren’t alone.). The album rocks so hard and consistently that it only has room for one sedate track. It’s Here, But I Have No Names For It is here, and ironically, that’s the name.
UPCOMING RELEASES
(complete list with Bandcamp links here)
We have finally stumbled across the precipice of spring. As the birds return from their winter homes, they bear on their backs a brand new crop of music. (Where did you think new music came from?) What begins as a series of shoots will eventually become a garden symphony. We’re very excited about the new arrivals, as recently highlighted in our Spring Music Preview. New previews are added to this page daily; we hope that you will find your next favorite album right here!
Adam Wiltzie ~ Eleven Fugues For Sodium Pentothal (Kranky, 5 April)
A Lily ~ Saru I-Qamar (Phantom Limb, 5 April)
Amalie Dahl’s Dafnie ~ Står Op Med Solen (Aguirre, 5 April)
Azalia Snail ~ Powerlover (Cloud Recordings, 5 April)
Brent Birckhead ~ Cacao (5 April)
Coral Morphologic and Nick León ~ Projections of a Coral City (Balmat, 5 April)
De Wolf & Arpatle ~ Nymokku (5 April)
Empenalas Ilegalis ~ Creepy Mambo: Rooftop Sessions (We Are Time, 5 April)
Ensemble Ambidextre ~ S/T (TELESKOP, 5 April)
Iris Trio ~ Project Earth: The Blue Chapter (NMC, 5 April)
Isabel Pine ~ Where the Flowers Grow (5 April)
James Rushford ~ Turzets (Blank Forms, 5 April)
Jason Blake ~ Candles Burn (7d Media, 5 April)
Jonny Halifax Invocation ~ Açid Blüüs Räägs Vol.2 (God Unknown, 5 April)
Josh Johnson ~ Unusual Object (Northern Spy, 5 April)
Kabir Dalawari ~ Last Call (Shifting Paradigm, 5 April)
kraftwitch ~ Soft Kicks (Three Wands, 8 April)
Lucinee ~ Pacemaker (The Brvtalist, 8 April)
Martina Berther ~ Bass Works: As I Venture Into (Kit, 5 April)
Matthew Shipp Trio ~ New Concepts in Piano Trio Jazz (ESP-Disc’, 5 April)
Michel Banabila ~ The Unreal Realm (5 April)
missing scenes ~ who is this for? (Varia, 5 April)
NITRITONO ~ Cecità (My Kingdom Music, 5 April)
Om Unit ~ Fragments (5 April)
Red Sun ~ From Sunset to Dawn (Subsound, 5 April)
Shabason, Krgovich, Sage ~ S/T (idee fixe, 5 April)
sleepmakeswaves ~ It’s Here, But I Have No Name for It (5 April)
Ulrich Krieger ~ Aphotic III: Bathyal (Room40, 5 April)
Valley Lines ~ 13_16 (Machine, 5 April)
Haruhisa Tanaka ~ Nayuta (teinei, 7 April)
Tomotsugu Nakamura ~ Moon Under Current (teinei, 7 April)
[Ahmed] ~ Wood Blues (fönstret, 8 April)
Bill Vine ~ Turbulent Flow (Ryoanji, 8 April)
Kjetil Jerve ~ INOCHI 命 (Dugnad, 8 April)
Polygone ~ Tactics Faculty (part 1) (Difficult Art & Music, 8 April)
su dance110 ~ Shang Can (3087, 9 April)
Ugasanie ~ Cold World of Eternity (Cryo Chamber, 9 April)
Marco Melasomma ~ NEOLINGUA (Stochastic Resonance, 11 April)
Sermons by the Devil ~ Baptism of Desire (11 April)
SPECIO ~ S/T (Prohibited, 11 April)
Alex Goldfarb ~ Fire Lapping at the Creek (Infrequent Seams, 12 April)
Apply Triangle ~ Oxalis Triangularis: Complete Volumes (1–3) (cmntx, 12 April)
BLEID ~ Aerosol (eterna, 12 April)
Buildings and Food ~ sky-d (12 April)
Caroline Davis & Wendy Eisenburg ~ Accept When (Astral Spirits, 12 April)
Celestial Trails ~ Lunar Beachcomber (Fluttery, 12 April)
Chantal Michelle ~ ℎ− 2− ℎ− − 2 ℎ− (Dinzu Artefacts, 12 April)
Ciro Vitiello ~ The Island of Bouncy Memories (Haunter, 12 April)
Daniel Catala ~ Buenas Noches Amor (Bigo & Twigetti, 12 April)
David Murphy ~ Cuimhne Ghlinn: Explorations in Irish Music for Pedal Steel Guitar (12 April)
DJ Marcelle/Another Nice Mess ~ A Different Fridge for Cheese (play loud!, 12 April)
Eulipion Corps ~ Megaliths & the Tides (Wormhole World, 12 April)
Ghost Trees ~ Intercept Method (12 April)
Griffure ~ Paratonnerre (Umlaut, 12 April)
Hour ~ Ease the Work (Dear Life, 12 April)
Low End Activist ~ Airdrop (peak oil, 12 April)
Monokle ~ Tricks (Fuselab, 12 April)
9T Antiope ~ Horror Vacui (American Dreams, 12 April)
nobuka ~ Finally We Are All Floating (12 April)
Odist ~ Cascading Memories (Somewherecold, 12 April)
Pinkcourtesyphone ~ Arise in Sinking Feeling (Room40, 12 April)
Rejoicer ~ This Is Reasonable (Circus Company, 12 April)
Sunburned Hand of the Man ~ Nimbus (Three Lobed Recordings, 12 April)
Teiku ~ S/T (577 Records, 12 April)
Micah Pick ~ Frameworks (Audiobulb, 13 April)
Sholto Dobie ~ 23 (Infant Tree, 15 April)
Stefan Goldmann ~ Alluvium (Macro, 15 April)
Tom James Parmiter ~ Pianos in Conversation – Movements (15 April)
Camp ~ Commun-e (No Type, 16 April)
Silvia Bolognesi / Dudú Kouate / Griffin Rodriguez ~ Timing Birds (Astral Spirits, 16 April)
Werner Hasler & Carlo Niederhauser ~ OUT Session [recordings] (Everest, 16 April)
CEE ~ Primary Forest 02 (CEE, 18 April)
FUJI||||||||||TA ~ MMM (Hallow Ground, 18 April)
asher tuil ~ Opus (Room40, 19 April)
Atrás del Cosmos ~ Cold Drinks, Hot Dreams (Blank Forms, 19 April)
Bios Contrast & Nilotpal Das ~ AUTO (19 April)
Byron Asher’s Skrontch Music ~ Lord, when you send the rain (Sinking City, 19 April)
Calum Builder ~ Renewal Manifestation (Dacapo, 19 April)
Erlend Albertsen Basspace ~ Name of the Wind (Dugnad, 19 April)
Infinite River ~ Tabula Rasa (Birdman, 19 April)
Innode ~ grain (Editions Mego, 19 April)
Kelpe ~ LP10 (Kit Records, 19 April)
Khôra ~ Gestures of Perception (Marionette, 19 April)
Les Cyclades ~ Glika (Hi Scores, 19 April)
Manja Ristić ~ Ma (LINE, 19 April)
Maxime Dangles ~ Le Roman De Carpentier (In Between, 19 April)
Memeshift ~ Echoes (Chinabot, 19 April)
Rasmussen / Sakata / O’Rourke / Sorsana ~ Live at SuperDeluxe – Volume 1 (Trust, 19 April)
Splitter Orchester ~ splitter musik (Hyperdelia, 19 April)
V/A ~ Perceptions Vol.5 (Bigo & Twigetti, 19 April)
Andrew Heath ~ The Cloud Machine (Whitelabrecs, 20 April)
Hill Collective ~ Tonal Prophecy (20 April)
Jacob Audrey Taves ~ The Remaining Functionality of Abandoned States (Honey Farm, 20 April)
Simon McCorry & Wodwo ~ Every Creeping Thing (Whitelabrecs, 20 April)
Leo Genovese, John Lockwood, Nat Mugavero ~ The Art of Not Playing (577 Records, 21 April)
Venusian Motel Guests ~ All Was Carbon (22 April)
Harvestman ~ Triptych Part One (Neurot, 23 April)
Jos Smolders ~ Textur 2 (Crónica, 23 April)
Jules Archive ~ Platonic Tales (23 April)
Limina ~ Coming Home (Sonic Ritual, 23 April)
Noémi Büchi ~ Does It Still Matter (~OUS, 24 April)
Pollution Opera ~ S/T (Danse Noire, 24 April)
Abul Mogard & Rafael Anton Irisarri ~ Impossibly distant, impossibly close (Black Knoll, 26 April)
Catherine Graindorge ~ Songs for the Dead (Glitterbeat, 26 April)
Dawn Chorus & the Infallible Sea ~ Reveries (Sonic Cathedral, 26 April)
Diamond Gloss ~ Golden Mountain Tales (Fluttery, 26 April)
Gareth Davis & Monica Bugajny ~ Becoming (Moving Furniture, 26 April)
Garth Erasmus ~ Threnody for the KhoiSan (TAL, 26 April)
Gidge ~ Tundra (Atomnation, 26 April)
Lorem ~ Time Coils (Krisis Publishing, 26 April)
Lunar Prairie ~ S/T (26 April)
Meat Beat Manifesto & Merzbow ~ Extinct (Cold Spring, 26 April)
Montgomery & Turner ~ Sound Is (Our) Sustenance (Astral Editions, 26 April)
Nick Dunston ~ COLLA VOCE (Out of Your Head, 26 April)
Otomo De Manuel ~ So Young But So Cold (Ici D’ailleurs, 26 April)
Poppy H ~ Confidence of Crisis (Cruel Nature, 26 April)
Stephanie Pan & Ensemble Klang ~ The Art of Doing Nothing: a feminist manifesto (Ensemble Klang, 26 April)
Steve Hadfield ~ Donald Byrne vs. Bobby Fischer 0-1 – The Game of the Century (1956) (26 April)
Theo Nabicht ~ Circle Line Project 15 London (Moloko Plus, 26 April)
Theo Nabicht ~ Circle Line Project 18 Wien (Moloko Plus, 26 April)
Various Artists ~ GmbH: An Anthology of Music for Fashion Shows 2016-2023 Vol. 1 (studio LABOUR, 26 April)
When Colors Are Fading ~ The Days Gone By… (26 April)
Yosa Peit ~ Gut Buster (Fire, 26 April)
A_A ~ Diskordant (Artificial Owl, 30 April)
STHLM svaga ~ Plays Carter, Plays Mitchell, Plays Shepp (thanatosis, 1 May)
Aimee Aileen Wood ~ The Heartening (Colorfield, 3 May)
Concussed ~ Hactivist Satellite Transmissions (Somewherecold, 3 May)
CORBEN ~ Peachland (MM Discos, 3 May)
Darius ~ Murmuration (Humus, 3 May)
Desiderii Margini ~ Bathe in Black Light (Cyclic Law, 3 May)
Driftmachine & Ammer ~ Sonic Behavior (Umor Rex, 3 May)
Dun-Dun Band ~ Pita Parka, Pt. I: Xam Egdub (Ansible Editions, 3 May)
Guentner | Spieth ~ Overlay Reworks | Pt. I (Affin, 3 May)
Hands Holding the Void ~ In the Absence of Light: Music for Electronics & Console (3 May)
Jason Stein, Marilyn Crispell, Damon Smith, Adam Shead ~ spiraling horn (Irritable Mystic, 3 May)
Kee Avil ~ Spine (Constellation, 3 May)
LATRALA ~ S/T (Otherly Love, 3 May)
Matt Mitchell ~ Illimitable (Obliquity, 3 May)
Phase4our ~ Language Barrier (Machine, 3 May)
Saapato ~ On Fire Island (sound as language, 3 May)
Shakali ~ Rihmastossa (Not Not Fun, 3 May)
Shall Remain Nameless ~ Kensington, Philadelphia Soundtrack (3 May)
Steph Richards ~ Power Vibe (Northern Spy, 3 May)
SticklerPhonics ~ Technicolor Ghost Parade (Jealous Butcher, 3 May)
ULVTHARM ~ 7 Uthras (Cyclic Law, 3 May)
Jessica Pavone ~ Reverse Bloom (Astral Spirits, 5 May)
Andreas Trobollowitsch ~ TRUBA (Futura Resistenza, 7 May)
nespit & Comfortless ~ Warcrime (Tripaliuum, 7 May)
Lola de la Mata ~ Oceans on Azmuth (8 May)
Derek Piotr ~ Divine Supplication (10 May)
El Jardin de las Mathematicas ~ S/T (Penultimate Press, 10 May)
France Jobin ~ Infinite Probabilities (Room40, 10 May)
Francisco Mela featuring Leo Genovese & William Parker ~ Music Frees Our Souls, Vol. 3 (577 Records, 10 May)
GALATI ~ Cold as a February Sky (Glacial Movements, 10 May)
Gelsey Bell & Erin Rogers ~ Skylighght (Chaikin, 10 May)
Gordan ~ S/T (Glitterbeat, 10 May)
Hior Chronik ~ Crave for More (Ki, 10 May)
Jim White & Marisa Anderson ~ Swallowtail (Thrill Jockey, 10 May)
Koshun Nakao ~ Vessel 1 (Bigo & Twigetti, 10 May)
Limpe Fuchs ~ Amor (play loud productions, 10 May)
Luka Aron ~ XV XXVII III XXI IX: Variations & Coda (Warm Winters Ltd., 10 May)
Marewrew ~ Ukouk: Round Singing Voices of the Ainu 2012-2024 (Pingipung, 10 May)
Mary Lattimore and Walt McClements ~ Rain on the Road (Thrill Jockey, 10 May)
marucoporoporo ~ Conceive the Sea (flau, 15 May)
Acid Mothers Reynols ~ Vol. 3 (VHF, 17 May)
Andy Clausen ~ Few III Words: Solo Trombone at the TANK, Vol. 1 (17 May)
Ezéchiel Pailhès ~ Ventas Rumba (Circus Company, 17 May)
M Wagner ~ We Could Stay (Extremely Pure, 17 May)
Various Artists ~ Kuboraum Sound Residency (Kuboraum, 17 May)
Wolfgang Seidel ~ Friendly Electrons (Karlrecords, 17 May)
YRLNG ~ Rbia Harsha Cinta (Antibody, 17 May)
John Ken Nuzzo, HAIOKA ~ East Wind (DL Emerald & Doreen, 24 May)
Mazz Swift ~ Mazz Swift – The 10000 Things: PRAISE SONGS for the iRiligious (New Amsterdam, 24 May)
Romain Azzaro & Jeanne Briand ~ Gear(s) (fluxus temporis, 24 May)
Room 31 ~ Crazy Town (Positive Elevation/577 Records, 24 May)
Sebastian Mullaert & Henrik Frendin ~ Hind (Lamour, 24 May)
Basile3 ~ 43°C (InFiné, 31 May)
Benny Bleu ~ Banjo Meditations (31 May)
FINAL ~ What We Don’t See (Room40, 31 May)
Pablo’s Eye ~ The light was sharp, our eyes were open (STROOM.tv, 4 June)
Reunion Island ~ Night Words (Tall Corn Music, 4 June)
A Journey of Giraffes ~ Retro Porter (Somewherecold, 7 June)
Braille ~ Triple Transit (Hotflush, 20 June)