A CLOSER LISTEN weekly #68

Interviews with Matana Roberts and Rafael Anton Irisarri

Sep 19, 2024

Dear Listeners, Joseph here, on the road this week. For this bi-weekly round up, we’ve got our Greek correspondent Maria Papadomanolaki, in conversation with Rafael Anton Irisarri , whose FAÇADISMS is out in November. And I feature Matana Roberts in the latest episode of the Sound Propositions podcast.

Sound Propositions Episode 38: DIS/PLACED – with Matana Roberts

Matana Roberts is a multidisciplinary artist, saxophonist, composer, and performer. With the release of In the Garden…, their ongoing, projected 12-chapter series COIN COIN is near its midpoint. Roberts has developed a composition system for the series based on mixed media scores combining graphic notation, visual art, film, and ephemera, channeling the images and (hi)stories left behind. Coming out of the fertile hybrid music scenes of Chicago, Roberts resists being pigeon-holed into any one genre, and has a particularly complicated relationship being labeled as a “jazz” musician. In fact, as they point out in this episode, Roberts rejects binaries in general, preferring to explore other ways of being, a theme which is also reflected in the narratives of each of the chapters of COIN COIN. In this episode, we discuss Chapter Five, the loss of jaimie branch, and the lessons they learned from Montreal.

Episode 38: DIS/PLACED – with Matana Roberts

Sound Propositions should be available wherever you get your podcasts, so please keep an eye out and subscribe (and rate and review, it helps others who might be interested find us). You can support Sound Propositions on Patreon if you are so inclined, or send a one-time donation via PayPal. The first two seasons are also available on Bandcamp. I’m very grateful for any support, which will help ensure future episodes.

Interview recorded in Montreal, November 2023
Produced and mixed in St.Louis, August 2024

Matana Roberts’ formation as an artist owes as much to the make-do DIY ethos of punk rock as it does to the spirit of the black avant-garde and free jazz. Born in Chicago, they came of age as a musician in the fertile hybrid music scenes of that city, benefiting from free music lessons in the American public school system. Through their political scientist father and his record collection, they were exposed to the music of the legendary AACM. As an adult they would later collaborate and for a time join AACM, mentored in particular by Fred Anderson. Roberts has since collaborated with a great many artists and ensembles, playing on Godspeed’s Yanqui U.X.O, with Roscoe Mitchell as part of Rob Mazurek‘s Exploding Star Orchestra, and as a member of Greg Tate‘s Burnt Sugar the Arkestra Chamber. In recent years, Roberts has increasingly been in demand for commissioned compositions, often dealing with contemporary issues. But they are perhaps best known for their series COIN COIN.

COIN COIN is Matana Roberts’ magnum opus, a projected 12-chapter epic encompassing themes of history, ancestry and memory. In The Garden… is the fifth chapter, and like previous installments was released by Montreal’s Constellation records, known for their exquisite packaging, showing off Matana’s detailed, mixed-media collages and graphic notation. Often compared to large jazz ensembles like those of William Parker, Wadada Leo Smith, and Burnt Sugar, jazz is undoubtedly present in Robert’s aesthetic as a composer and improviser, particularly in the way they play with tradition and evoke double consciousness. But ultimately “jazz” is inadequate and misleading, as their work transcends such labels and the emphasis critics place on genre detracts from the work’s uniqueness.

Interview with Rafael Anton Irisarri

A week prior to headlining the Ametric Festival in Crete (September 12-14), and only days after the announcement of his upcoming November album FAÇADISMS, Rafael Anton Irisarri spent some time conversing with our own Greek correspondent Maria Papadomanolaki. In this interview, the artist looks back over his career, discusses the process of making music, highlights the benefits of collaboration, and discusses the challenges of today’s music industry. After reading, be sure to pre-order the new album, upcoming on Irisarri’s own Black Knoll!

What was the starting point for you in this career of many years? What started it all?

I’m a self-taught musician who grew up in the 80s and 90s, learning guitar and bass by playing along to records. Coming from a working-class family, most of my music came from hand-me-downs, starting with heavy metal cassettes in my early years. My musical horizons expanded when my uncle introduced me to Reggae and Dub music, and at fifteen, a friend from the industrial scene introduced me to ambient electronic music via The Orb. Afterward, I explored everything from The Cure, Joy Division, and Kraftwerk to My Bloody Valentine, Cocteau Twins, Harold Budd, Talk Talk, and Slowdive. After moving to Seattle in the 2000s, I became involved in the thriving electronic music community there, organizing and often running sound for shows, which sparked my interest in audio engineering. Working behind the FOH console led me to the studio, where I got my start polishing home recordings by artist friends. I spent countless hours studying and training in studios, and soon, more artists (and labels) sought my engineering skills. This eventually led me to set up a professional mastering studio at my home in Seattle. It was a dark, hillside room with little sunlight, so we named it Black Knoll. In 2008, I got signed to Ghostly International, releasing my debut album as The Sight Below. Since then, I’ve lent a hand to countless Ghostly releases: Julie Byrne, Hana Vu, Helios, Telefon Tel Aviv, Galcher Lustwerk, Steve Hauschildt, Lusine, and so many more.

…

You have recently released a wonderful collaborative album with Abul Mogard and a new Orcas album with your longtime collaborator Benoît Pioulard. What is the most inspiring aspect of collaborating with another artist?

Collaborating is so inspiring and important to me. I genuinely cherish and appreciate working with other artists. It is so refreshing when our values and aesthetics align. Beautiful friendships have formed as a result of these moments of collaboration. For example, my work with Benoît Pioulard has been enriched by years of friendship and shared experiences, because it adds so many layers of meaning to what we create together. With Abul Mogard, our collaboration came from a mutual respect and admiration that we had for each other. Last year, when an original commitment with another artist fell through, having Abul step in for a live show in Madrid was a blessing. Not only did it save the day, but I also discovered how naturally we connect musically. I appreciate him very much and really enjoy the seamless flow of our performances together. We have incredibly similar ways of working in the studio too. It is rare to find a kindred spirit later in life, and so I value it greatly. My friend James Brown is a UK producer who worked on the latest Orcas album. He has been a significant mentor to me. James embodies the spirit of the classic era of music production where an entire team collaborated on an album from producers, and recording engineers, to mixing engineers, and more. This sense of collective effort has somewhat faded in the 21st century, particularly in electronic music, where the producer often assumes multiple roles: composer, engineer, and arranger. While this approach can be effective, it can also lead to a loss of the rich, multi-faceted input that teamwork provides.‘FAÇADISMS’ is a testament to the value of collaboration. I crafted the album with a specific vision, before sharing it with James. His feedback was incredibly insightful, and he offered fresh perspectives and valuable suggestions that I was keen to explore. I refer to this approach as ‘Strategies (against conformity),’ which is how I credited James on my latest album. His contributions exemplify the creative magic found when combining different viewpoints and expertise, especially from someone whom you greatly respect and admire.

Read the entire piece.

RECENT REVIEWS
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.

Dame Area ~ Toda la verdad sobre Dame Area
Toda la verdad sobre Dame Area (The whole truth about Dame Area) is an atypical choice for A Closer Listen, but its power is irresistible. On their fourth album, Dame Area (the Italian-Catalan duo of Silvia Konstance and Viktor Lux Crux) has made a major shift in sound, from melodic, romantic electro-synth to aggressive industrial with shouted phrases. When compared to Toda la mentira sobre Dame Area’ / ‘All the Lies about Dame Area, one can appreciate the progression. Programmed drums have given way to percussion; the tone has grown unsettling; and any doubt is dispelled by the cover art. Not that the duo was ever mainstream ~ one can hear the occasional yelps and screams, even on the last production ~ but this year, they’ve given into their darkest impulses, resulting in an album that sounds looser and freer.

Erland Cooper ~ Carve the Runes Then Be Content With Silence
Erland Cooper has already received a great amount of publicity for the backstory around his latest album. Our fear is that the backstory will obscure the fact that this is a rather excellent work. Carve the Runes Then Be Content With Silence takes its title from George Mackay Brown’s poem “A Work for Poets” (1996), the preceding line being “Here is a work for poets-“. Mackay was known for “the interrogation of silence,” which is also the title of his biography. This fascination has much to do with the recording, which might itself have fallen into silence save for a fortuitous intervention. Cooper buried the recording three years ago, disposed of all other existent copies, and invited fans to search for the treasure. One year later, it was unearthed in Stromness by Victoria and Dan Rhodes, and returned to the composer, remarkably intact.

Ghostwriter ~ Tremulant
2024 has been a great year for alternative sacred music, exemplified in albums from Shards, Salt of the Sound, Andrzej Pietrewicz and Wild Up (performing the music of Julius Eastman). Now we can add the Ghostwriter quartet, led by Mark Brent, to the mix. Brent is responsible for the music, while the singers are Michael Weston King of My Darling Valentine, Anglican bishop Andrew Rumsey (competing for the title of Coolest Bishop Ever) and the solo artist Suzy Mangion. The success of Tremulant is that it brings church music outside the church, while challenging staid conceptions of what is fitting inside a church. If Ghostwriter tours our nearby house of worship, it will be well worth setting up the chairs.

Izabela Dłużyk ~ The Amazon – Where the Moon Wept
What a joy to see the release of The Amazon – Where the Moon Wept, a happy dream come true for Izabela Dłużyk and a wish fulfilled for our readers, who will remember the artist from her albums Soundscapes of Spring and Soundscapes of Summer, recorded in her native Slovenia. Blind since birth, yet possessing a “particular sensitivity to sound,” Dłużyk is the field recording version of Marvel Comics’ Daredevil. Her lifelong wish: to travel to the Amazon and experience its immersive sounds. Thanks to a crowdfunding campaign and the good people at LOM, she was able to visit the Peruvian rain forest’s Tambopata National Reserve, and to return with this album chronicling her adventures. Those who have not yet visited the Amazon can hear vicariously through her ears.

MF Clarke ~ Arrays
Many of us wish that we could be in two places at once. Either we have too much to do, and would like to divide ourselves, or we are in one place, dreaming of being in another. MF Clarke offers a reflection of this wish in aural form, combining data sonification material from the Hudson River with related data from the Arctic and Antarctic and field recordings from Greenland. To this she adds her own glass instrumentation, guitar and voice, creating a “third location” that exists only in the mind: a latitude and longitude in which different seasons can co-exist.

Sarah Davachi ~ The Head As Form’d In The Crier’s Choir
The Head As Form’d In The Crier’s Choir is described by Davachi as a ‘supplement of sorts’, being the third part of a trilogy, begun with Two Sisters and 2021’s Antiphonals. Our review of Two Sisters, Sarah Davachi’s 2022 album, compared the listening experience to going to church. It’s a similar feeling playing her latest release, except possibly on a grander scale, akin to finding a pew in an ancient cathedral on a quiet afternoon while the organist practices for the Sunday service. Davachi creates music that is equally intimate and epic; compositions recorded on pipe organs that feel like they have been crafted for an audience of one. Chamber pieces that shift so carefully and subtly that you hold your breath for fear of disturbing the moment. Taking us back to the cathedral setting, you don’t want to move less the seat you’re on scratches the stone flags. This isn’t about ‘respecting the music’ in the way a cough threatens to disrupt a classical performance, but it feels that a Sarah Davachi work requires a certain amount of reverence. The notes reverberate, the tones whirl and pool into shape and the rest of the world drifts away.

Styrofoam ~ the lost album
One of fall’s most enjoyable electronic albums is a time traveler, beamed to us from 2000-2001. While listening, fans of a certain age are thrown back to the halcyon days at the turn of the century, before 9-11, before Brexit, before COVID, before a whole lot of things went in the wrong direction. Back then, artists such as The Notwist, The Postal Service, Opiate and Styrofoam were in their glory, releasing music under the banner of indietronica, filled with glitch, melody and a soupçon of melancholy. But Arne Van Petegem (Styrofoam) had a different direction in mind for album number three – that is, until a discussion with the label shelved the music of the lost album, most of which has been unheard until today, so many of our readers weren’t even born when it was composed!

Various Artists ~ Dekmantel Ten: A Decade of Dekmantel Music
Dekmantel Festival celebrates its tenth anniversary with a massive box set: seven albums, each loosely representing one of the festival stages, containing 44 exclusive tracks from Dekmantel artists old and new. The genres are generous, including techno, house, breakbeat and jungle; big names (Jeff Mills, Adrian Sherwood, Lee Gamble) are here among the new and upcoming. The treats are the insight into the festival for those who have never attended, and the souvenir aspect for those who have.

Various Artists ~ harkening critters
As announced in our Fall Music Preview, harkening critters is the field recording highlight of the season. A virtual who’s who of the genre, the 4-hour, 33 track triple album contains the sounds of “critters” from around the world, while asking if the real critters are the ones who are recording them. A 76-page booklet contains photographs and descriptions from each of the artists, which include so many familiar names we’re astonished that Pablo Diserens was able to gather them all together for a common cause. All proceeds go to Friends of the Earth, an organization that battles environmental degradation, supports human rights and challenges corporate greed. Those intrigued by An Immense World and The Great Animal Orchestra will find this the next natural step, or a worthy accompaniment to a return read. What does it sound like where you live? From my house, I am able to hear bluejays, cardinals and goldfinches, a chorus of primary colors; bald eagles, who live in a protected nest; and in the night hours, horned owls and Eastern screech owls, striking fear into the hearts of wandering squirrels, rabbits and chipmunks. The dawn chorus is rich is hue, already fading as the autumn migration begins, flocks of geese flying overhead on their way to some warmer clime.

*Dekmantel Ten: A Decade of Dekmantel Music*

UPCOMING RELEASES

(complete list with Bandcamp links here)

Hundreds of amazing fall albums have already been announced, with many linked below, more in our Fall Music Preview and even more to come. Fall is the best season for music, a consolation for the end of summer. We’re particularly excited about this year’s crop, as it has as much color as the soon-to-fall leaves. From big names to fresh discoveries, there’s always something new on the horizon; we’re adding new albums daily, and hope you’ll find your next favorite album right here! Happy autumn, everyone!

Alphaxone & Onasander ~ Futuristic Dereliction (Cryo Chamber, 17 September)

Jun Suzuki ~ A Distance So Near (XVIIIEMEPENINSULE, 18 September)

V/A ~ Batch 2024B (33 releases from Inner Demons Records, 18 September)

f5point6 ~ A Random Sequence of Events (See Blue Audio, 19 September)

Johan Carøe ~ The Great Silence (19 September)

Alaskan Tapes ~ Something Ephemeral (Nettwek, 20 September)

Alan Licht ~ Havens (VDSQ, 20 September)

Alex Henry Foster ~ A Measure of Shape and Sounds (20 September)

Anthony Vine ~ Sound Spring (kuyin, 20 September)

Arthur Levering ~ OceanRiverLake (New Focus, 20 September)

Başak Günak ~ Rewilding (Subtext, 20 September)

Caroline Davis ~ Portals Volume 2: Returning (Intakt, 20 September)

DEFTR ~ Run Away (npm, 20 September)

DJ Stingray 313 ~ Industry 4.o EP (Tresor, 20 September)

Erjos ~ The Presence (Bigo & Twigetti, 20 September)

Flavigula ~ Greenhouses (Submarine Broadcasting Co., 20 September)

Ibukan Sunday ~ Harmony / Balance (Phantom Limb, 20 September)

Kai Fagaschinski & Yan Jun ~ Graveyard Processions (NI VU NI CONNU, 20 September)

Malcolm Pardon ~ The Abyss (Leaf, 20 September)

MF Clarke ~ Arrays (Oxtail Recordings, 20 September)

more eaze ~ lacuna and parlor (Mondoj, 20 September)

Nico van Wersch ~ Psychose (Naked, 20 September)

Otay.onii ~ True Faith Ain’t Blind (No-Gold, 20 September)

Rhombus Index ~ hycean (See Blue Audio, 20 September)

Stefan Vincent ~ Post Melancholy (MUSAR, 20 September)

Tapes and Topographies ~ Rudiments (early works) (20 September)

Various Artists ~ harkening critters (forms of minutiae, 20 September)

White Poppy ~ Ataraxia (Not Not Fun, 20 September)

Henrik Meierkord & Knivtid ~ I ett annat land (Whitelabrecs, 21 September)

Polaroid Notes ~ Quiet Rooms (Whitelabrecs, 21 September)

Farewell Phoenix ~ The Angels in These Fields (Ceremony of Seasons, 22 September)

Felbm & Louis Reith ~ G, A & D (Objects & Sounds, 23 September)

Quoth ~ Terminal (23 September)

Bruce Brubaker ~ Eno Piano 2 (InFiné, 25 September)

Duo Extempore ~ Ordinary Places (26 September)

Bill Frisell – Andrew Cyrille – Kit Downes ~ Breaking the Shell (Red Hook, 27 September)

Black Brunswicker ~ Been Around Here Before (Nettwerk, 27 September)

Hiroshi Ebina ~ Into the Darkness of the Night (Kitchen, 27 September)

In the Sun ~ Dawn (Chinabot, 27 September)

Ireen Amnes ~ Forbidden Memories (KR3, 27 September)

Iván Muela ~ Ether (27 September)

Klara Lewis ~ Thankful (Editions Mego, 27 September)

The Kris Davis Trio ~ Run the Gauntlet (Pyroclastic, 27 September)

the Man from Atlantis ~ Spirits Align (Ramble, 27 September)

mu tate ~ wanting less (Warm Winters Ltd., 27 September)

Peter Gall ~ Love Avatar (Compost, 27 September)

Poppy H ~ Wadham Lodge (27 September)

Sandy Evans Trio ~ The Running Tide (27 September)

Sharp Veins ~ People Pleaser (27 September)

Tam Lin ~ Mutant Tangle (27 September)

Telekaster ~ Lontano (Empanada Music, 27 September)

Tiago Sousa ~ A Thousand Strings (Discrepant, 27 September)

Twin Talk ~ Twin Talk Live (Shifting Paradigm, 27 September)

Sarine ~ Asas Terrenas (Futura Resistenza, 30 September)

Channelers ~ Ringing In An Open Sky (Inner Islands, 1 October)

Nicolas Bernier ~ Visions Couleurs (Label formes-ondes, 1 October)

Jessie Kleemann & Søren Gemmer ~ Lone Wolf Runner (2 October)

Gaudi Kosmisches Trio ~ Torpedo Forward (Curious Music, 3 October)

Juliana Day ~ lull (New Jazz and Improvised Music, 3 October)

Alien Alarms ~ Utopia or Dystopia? (4 October)

The Bug ~ Machine (Pressure, 4 October)

Cape Canaveral ~ Ghost Rips (Machine Records, 4 October)

Estelle Schorpp ~ In My Ears (for Maryanne) (LINE, 4 October)

Glacis ~ Innocence (Oscarson, 4 October)

Guentner | Spieth ~ Overlay Reworks Pt. 2 (by Pole and Abul Mogard) (Affin, 4 October)

Leo Genovese ~ Forward (577 Records, 4 October)

Mattias De Craene ~ A House Where I Dream (Viernulvier, 4 October)

mHz ~ Material Prosody (Room40, 4 October)

Nicholas Maloney & Yama Yuki ~ Live at Parking Lots (Flaming Pines, 4 October)

Nichunimu ~ Calados (577 Records, 4 October)

Nonconnah ~ Nonconnah vs. the Spring of Deception (Absolutely Kosher, 4 October)

Sam Underwood & Graham Dunning ~ Beaux Timbres (Accidental, 4 October)

Unicorn Ship Explosion ~ There’s a Rhinoceros in the Mega Church (Sound Records, 4 October)

V/A ~ Cybernetics, Or Ghosts? (Subtext, 6 October)

Matilde Meireles ~ Loop. And Again (Cronica, 8 October)

boycalledcrow ~ eyetrees (Hive Mind, 11 October)

Brad Shepik ~ Human Activity: Dream of the Possible (Shifting Paradigm, 11 October)

B.Visible ~ Life Is My Hobby (Matches Music, 11 October)

eldritch Priest ~ Dormitive Virtue (Halocline Trance, 11 October)

Evan Chapman ~ Reveries (Better Company, 11 October)

HMOT ~ There Will Come Gentle Rain (Warm Winters Ltd., 11 October)

Hualun ~ Scene (Gezillig, 11 October)

Prawit Siriwat ~ Blueberry (11 October)

Qais Essar ~ Echoes of the Unseen (Worlds Within Worlds, 11 October)

Sam Wilkes ~ iiyo iiyo iiyo (11 October)

Trem 77 ~ Eyelid Movie EP (11 October)

Verstärker ~ V (11 October)

Gianluca Ceccarini, Alessandro Ciccarelli, Tetsuroh Kinishi ~ Yugen (Disasters by Choice, October 14)

Andrea Giordano ~ Àlea (Sofa Music, 18 October)

Bryan Perri ~ Few Words (18 October)

Chihei Hatakeyama & Shun Ishiwaka ~ Magnificent Little Dudes, Volume 02 (Gearbox, 18 October)

Guy Blakeslee ~ EXTRAVISION (Leaving, 18 October)

Kinkajous ~ Nothing Will Disappear (Running Circle, 18 October)

Marysia Osu ~ harp, beats & dreams (Brownswood Recordings, 18 October)

Nzʉmbe – Ardor or Entropy (Drowned by Locals, 18 October)

Oliver Coates ~ throb, shiver, arrow of time (RVNG Intl., 18 October)

Pat Thomas ~ This Is Trick Step (577 Records, 18 October)

Rubbish Music ~ Fatbergs (Persistence of Sound, 18 October)

SO SNER ~ The Well (TAL, 18 October)

Svaneborg Kardyb ~ Superkilen (Gondwana, 18 October)

Ueno Takashi ~ ARMS (Room40, 18 October)

Various Artists ~ VINT (Lapsus, 18 October)

Cephas Azariah ~ Joy Paradox (Reflections, 21 October)

Black Aleph ~ Apsides (Art As Catharsis/Dunk, 25 October)

Body Meπa ~ Prayer in Dub (Hausu Mountain, 25 October)

Charlotte Jacobs ~ a t l a s (New Amsterdam, 25 October)

Daniela Huerta ~ Soplo (Elevator Bath, 25 October)

Eunhye Jong ~ End of Time / KM-53 Project, Volume 2 (577 Records, 25 October)

Felicia Atkinson ~ Space As An Instrument (Shelter Press, 25 October)

Flock ~ Flock II (Strut, 25 October)

Foudre! ~ Voltæ (Chthulucene) (Nahal, 25 October)

Gneiss ~ Ruthless (Tripalium, 25 October)

Hammock ~ From the Void (Hammock Music, 25 October)

NFL3 ~ O Days (Prohibited, 25 October)

Righteous Rooster ~ Fowl Play (Shifting Paradigm, 25 October)

Snowdrops ~ Singing Stones (Volume 1) (Gizeh, 25 October)

SUUMHOW ~ 5ILTH (n5MD, 25 October)

Toma Kami ~ missed heaven (mb studio, 25 October)

V/A ~ Resistance: Compilation of experimental music from Ukraine (Flaming Pines, 26 October)

OKRAA ~ La Gran Corriente (A Strangely Isolated Place, 30 October)

Diaries of Destruction ~ DoD II (31 October)

Rich God ~ Unmade (Somewherecold, 31 October)

Alan Lamb ~ Night Passage (Room40, 1 November)

Andert Tysma ~ Hana (Apollo, 1 November)

Caleb Wheeler Curtis ~ The True Story of Bears and the Invention of the Battery (Imani, 1 November)

Cybotron ~ Parallel Shift (Tresor, 1 November)

Dean Drouillard ~ Mirrors and Ghosts (1 November)

Mike Cooper ~ Slow Motion Lighning (Room40, 1 November)

Sarah Neufeld, Richard Reed Perry, Rebecca Foon ~ First Sounds (Envision, 1 November)

Scrimshire ~ Music for Autumn Lovers (Albert’s Favourites, 1 November)

Lifting Gear Engineer ~ Recovery (Machine, 2 November)

BANTAR ~ This Heat Is Exhausting (8 November)

Black Rain ~ Neuromancer (Room40, 8 November)

Rafael Anton Irisarri ~ FAÇADISMS (Black Knoll, 8 November)

Leo Okagawa ~ Lower the Tonearm (Flaming Pines, 8 November)

Vazesh ~ Tapestry (Earshift Music, 8 November)

mastroKristo ~ Passage (Lost Tribe Sound, 14 November)

Baldruin ~ Mosaike der Imagination (Quindi, 15 November)

civic hall ~ the trembling line (Lost Tribe Sound, 15 November)

Murcof ~ Twin Color (vol. 1) (InFiné, 15 November)

Nizar Rohana ~ Safa (Worlds Within Worlds, 15 November)

Oöhna Call ~ Bauerngarten (L’octuple lunaire, 15 November)

Pleizel ~ Primal Touch (Mesh, 15 November)

Samuel Rohrer ~ Music for Lovers (Arjunamusic, 15 November)

Zacc Harris ~ Chasing Shadows (Shifting Paradigm, 15 November)

numün ~ Opening (Centripetal Force, 20 November)

Ben Lukas Boysen ~ Alta Ripa (Erased Tapes, 29 November)

Rikuko Fujimoto ~ Distant Landscapes (FatCat/130701, 30 November)

Ava Rasti ~ The River (Fatcat/130701, 6 December)

a closer listen

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