A CLOSER LISTEN weekly #83
An Interview with Zosha Warpeha and Mariel Terán, GOLLIWOG, and Many Reviews
Dear Listeners, Joseph here once again for a bi-weekly rundown of the best of ACL. But first, some news and musings.
This week on the ACL internet radio show for CAMP, I’ve prepared a special Just Intonation mix with some help from Ben Richter of the Ghost Ensemble, celebrating their new release, interius/exterius, with composer Catherine Lamb. Review and interview soon, but until then, tune in to CAMP this Sunday 25 May at 6pm CET (and available on Mixcloud soon after). A review will follow shortly, and a full transcript of my interview with Ben will be available for paid subscribers. Ben suggested a number of tracks to me for this mix, some of which were totally new to me. Marc Sabat & the Harmonic Space Orchestra’s Gioseffo Zarlino (2015/2019) in particular blew me away, check that out, and tune in on Sunday for some more fun with Just Intonation.
I also just heard that the legendary label Table of the Elements will be hosting a relaunch party in London, 13 June at The Garden Cinema. The party includes a screening of Tony Conrad’s Completely in the Present plus a Q&A and DJ sets TBC. Check here for more info.
And The world's largest collection of punk records leaving Bay Area for Tennessee, as the Maximum Rocknroll archive finds a new home. I used to read MRR as a young punk teen in the late 90s, even published an ad once promoting a compilation I put together around 2001.
What else… via her Instagram, I saw La Rosalía is hard at work in the studio, hopefully finishing up a record poised to drop at the beginning of summer. But I’m patient, I can wait longer.
There was some other big music news recently wasn’t there? Oh, the whole Matthew Shipp / Andre3K situation, I’m not really interested in saying more about that but I’m glad Shipp is getting mostly positive attention as the result of his little off the cuff FB rant, and hopefully some of that attention translates to more eyes on his writing as well as his music.
Did you catch “Cellular Device,” the new single from ØKSE? It’s been nearly a year since they dropped their self-titled debut LP on Backwoodz. Speaking of which…
GOLLIWOG, billy woods’ 12th solo LP, was released on 9 May and I’ve listened to it at least two dozen times since then. I’m gonna need to sit with it for a while longer before saying much more about the album. Certainly, the record contains some memorable woods lines, demonstrating his prowess with language (“The English language is violence, I hotwired it / I got a hold of the master's tools and got dialed in”), casting rich tragedies with great economy (“Eventually people start picking, sifting through Not proud, but eventually, I was with 'em too”), and his hallmark vulnerability (“Half-hoping you-know-who would die, then he did (Surprise)”), the weight of which only partially offset by his often self-deprecating humor.
Hiding Places, woods’ 2019 surprise hit produced by Kenny Segal, introduced the NY-based rapper to wider audiences, and all of his solo albums since them, with the exception of late 2019’s Terror Management, have been single-producer joints. I love all those albums, as well as the two earlier records woods made with Blockhead, but I also appreciate the variety that comes with a multi-producer project like this, and perhaps counterintuitively the focus. There are some first time collaborations here, including Griselda and Mach-Hommy associates (Conductor Williams, Sadhugold) and from outside hip hop, including the experimental future jazz of Saint Abdullah and HUMAN ERROR CLUB. At 18 tracks, there’s still plenty of room for beats from woods regulars Dove, Segal, Preservation, Alc, El-P, Jeff Markey, Dr Haram, Shabaka, Messiah Musik, ELUCID, and Willie Green.
GOLLIWOG is very much a horror movie pastiche, so the diversity in production probably helps keep the project from becoming too heavy. Ever since Jordan Peele’s Get Out (2017) it seems to have become commonsense that horror is an effective vehicle for telling stories about the black experience in America, paving the way for shows like Lovecraft Country. Similarly, much has been made of the elements of magical realism that permeate Donald Glover’s TV series Atlanta (2016-22), some of the best episodes of which, such as “Three Slaps” (a dream-turn-nightmare inspired by the Hart family murders), are operating within the conventions of horror.
On GOLLIWOG, woods takes the premise of an evil golliwog, a doll in the form of a racist caricature, to tie together various heartbreaking vignettes. It’s not an easy listen, with the music often as uncomfortable as the stories woods weaves, as on the repeated cries, wordless vocals, and bassline that make up the austere and heartbreaking “Waterproof Mascara.” That track is produced by Preservation, who produced all of 2022’s outstanding Aethiopes. Despot, who had a standout guest verse on that record, returns for another rare feature, this time on a track produced by El-P. These facts, along with some thematic overlap, suggest a relationship between Aethiopes and GOLLIWOG perhaps not unlike that between Hiding Places and Terror Management. But you’ll have to wait to my proper review to unpack that any further.
One of my favorite tracks is “Dislocated” (the first single to get a video), featuring woods’ Armand Hammer partner ELUCID, with production by LA’s HUMAN ERROR CLUB. woods has hinted that there will be more collaborations with the trio soon, probably on the upcoming Armand Hammer LP, but I’m looking forward to whatever it may be. In the meantime, check out their back catalog.
OK, I told myself I wasn’t going to write this much of a preamble. I have an academic article due by the end of the month, so I’ve got to keep it short and disciplined! That said, I did recently find time to write up a preview of the 25th edition of Montreal’s Suoni per il Popolo for CultMTL (more once that’s published, but if you can be in Montreal between 14 and 30 June, I really recommend you do so). I also have a couple review-interviews in the pipeline, as I’ve mentioned, as well as my next Mini-Review Marathon, so look out for those in early June. We’ve also got new installments from the Ukrainian Field Notes series, including the return of the podcast. Now, I’m back to the writing desk for the next two weeks!.
We had so many good reviews in the past two weeks, I piled on some extra reviews for this week’s newsletter. We’ve got records from two different Ludwigs, two different Martinas…. But first, David Murrieta Flores is back with another great interview.
To Float Freely Away ~ An Interview with Zosha Warpeha and Mariel Terán
Zosha Warpeha and Mariel Terán are each deep-dive explorers of instruments. As improvisers and composers, they’ve developed unique voices in contemporary instrumental music: Warpeha’s recent record, silver dawn, was one of my favorites of last year, and Terán’s work has been featured in international settings like the MATA Festival in New York. Emerging from a variety of traditions, their work charts new courses in contemporary music; their collaborative debut, Orbweaver, is out now. The following interview was realized by email, mediated by the label, and minimally formatted and edited for consistency and clarity.
David Murrieta Flores (ACL): Hello, Zosha and Mariel! Could you please talk about how you came to choose your main instruments? How would you describe your relationships to them?
Zosha Warpeha (Z): I was attracted to the Hardanger fiddle several years ago when I heard a record by Nils Økland, a prominent contemporary Hardanger fiddler in Norway. I was entranced by the sound of the instrument – the resonance and rawness of the sound, a tactility that moved me quite deeply. I’ve developed an extremely personal relationship to my instrument since then – not necessarily residing within the tradition, but connected to the physicality of the fiddle and the ways it wishes to exist in acoustic spaces. I began as a violinist, but the Hardanger d’amore is now the instrument that truly feels like an extension of my voice.
Mariel Terán (M): My relationship with Andean wind instruments began more than 10 years ago, first through traditional Andean music and then through contemporary music, which these instruments are so perfect for. They have a variety of measures, materials, forms, sound patterns, and so much to explore in their nature. So, I would describe my relationship to them as very close. I investigate them: their heritage, their techniques and more. I feel fascinated by them because there are no written rules around them, just oral tradition involving their music. There is so much to explore about their sound potential.
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.
Concepción Huerta ~ El Sol de los Muertos
As Grand River has chosen wind as her subject and Concepción Huerta has chosen fire, the Umor Rex label may be working toward an Elements series. El Sol de los Muertos (The Sun of the Dead) features a volcano on its cover, but the image is metaphorical as well as physical. Inspired by the writings of Eduardo Galeano, the album is a primal cry that erupts from the depths of the earth. While rooted in Latin America, the theme is universally applicable. The forces that silence truth are active in every land. The encouragement of the release is found in the metaphor: the thought that a tipping point might be reached, and the very earth might erupt in protest. Lava literally creates new land.
Grails ~ Miracle Music
Seeing the “devotional” tag sneak back to the top of Grails‘ Bandcamp list, one knows to expect another shift. Since 2003, the chameleonic band has kept fans interested in their every move, while two individual members have thrown curveballs under the guise of Lilacs and Champagne. So if lead single “Silver Bells,” which launches in a tape wobble and seems like a modern Sufi service, may remind listeners of another song of that name, it’s no coincidence; the title of the album, after all, is Miracle Music, and the cover seems to portray supplicants holding hands, bowed in prayer.
Gwen Sainte-Rose ~ Collines / Racines
With physical releases on the wane, it’s comforting to open the Collines / Racines box to find small posters, photo cards, and ephemera foraged in the forests of Belgium. Reading that the objects were collected by “the musician and her acolytes,” one imagines a dual worship of place and sound. Composing for cello and Loopstation, Gwen Sainte-Rose presents an audio-tactile reflection on nature, well-suited for the outdoor season. The name of the Brussels label By the Bluest of Seas is evocative and sparks its own synesthesia. As one listens, one considers a visit to the Sonian Forest before remembering that there are other, closer forests and and trails, parks and plains. As much as Collines / Racines is a celebration of two, it is a celebration of all: the vast expanse of nature, beckoning us to explore.
Louise Rossiter ~ Der Industriepalast
The most amazing thing about Der Industriepalast is how much it sounds like the inner workings of the human body. The listener is fooled into thinking that they are hearing the amplified sounds of digestion, respiration, firing synapses and flowing blood, and this is rather the point. In 1747, Julien Offray de La Mettrie’s L’homme machine (Man, a Machine) proved so controversial that he had to leave his home country in disgrace; by 1926, Fritz Kahn’s poster Der Mensch als Industriepalast’ (Man as Industrial Palace) met a far more receptive audience. One might even posit that the Inside Out series takes its lead from his art. While these sounds are not human, they are made by humans. They include field recordings from Everard’s Brewery in Leicester and the cellar of a pub owned by Louise Rossiter‘s parents. To these, Rossiter adds organic instrumentation, from violin and cello to percussion, then ferments the entire collection in an electronic brine. Could it be that growing up, Rossiter began to imagine the pub as a giant model of the human body? If so, it is reflected in this release.
Ludwig Berger & Vadret da Morteratsch ~ Crying Glacier
It may quack like a duck, but it is not a duck; it is a glacier. The astounding “a kind of a person” is just one example of how strange and alluring the sounds of glaciers can be. Once the hydrophones are dipped into water, one may hear babbling babies, abstract synthesizers and all manner of sonic wonders. Crying Glacier is Ludwig Berger‘s tribute to the vanishing geophony of the Vadret da Morteratsch (Morteratsch Glacier). The sound artist previously established his dedication to the subject through the Institute of Landscape and Urban Studies’ Bodies of Water trilogy (2018-22), one of our all-time favorite field recording projects. The new work serves as a companion piece to a documentary film directed by Lutz Stautner, seen below; it is also the second in a series of ice-related releases from Pablo Diserens’ forms of minutiae, coinciding with the United Nations’ Year of Glacier Preservation.
Ludwig Göransson ~ Sinners (Original Motion Picture Score)
Warning: Contains minor spoilers! It’s been two weeks since I’ve seen the film, and one week since I’ve seen the film again, and I can’t get the music out of my head. Ludwig Göransson’s Sinners may not only be the best film score of the year, but the best film score of many years. To play the score (and soundtrack) again is to relive the experience of the film; but to hear the music separately is to appreciate its genius even more. Göransson is Ryan Coogler‘s go-to composer (Black Panther, Creed), and has also scored for Christopher Nolan, most notably Oppenheimer. In television, his most famous score is The Mandalorian. But Sinners is a different beast, as the film is about music, with some vampires thrown in; the vampires are attracted to the music, which “pierces the veil between life and death.” If Sammie (newcomer Miles Caton) were not so good at playing guitar, it’s possible no one would have died. The film’s main genre is the blues, but Göransson uses this as a starting point, expanding outward like spikes on a wheel. Sony may have been caught off guard by the popularity of the music, as these records won’t drop until September 26. Download them now, buy them then, spin them forever.
Martina Bertoni ~ Electroacoustic Works for Halldorophone
The halldorophone is the creation of Icelandic musician and composer Halldór Úlfarsson. On its core-base is a string instrument, resembling a cello electronically extended to respond in a generative way to pulsations, pressure variations and other improvised gestures on its strings, and in turn to amplify and project them through the embedded speakers. The halldorophone plays out in uncontrollable ways all the gestures creating recurring feedback loops, feeding one into another, rising and popping and dropping depending on the amount of pressure and the vibrations triggered. The instrument itself can become a very physical and embodied chamber of gestures turned into sounds in an effort to examine tunings and the mathematical relationships between harmonic frequencies. Martina Bertoni’s study of this instrument during a residency at Stockholm’s Elektronmusikstudion (EMS) is documented in her latest release on Karlerecords, titled Electroacoustic Works for the Halldorophone. The improvised interactions were recorded in Stockholm and were later edited in the artist’s studio in Berlin. The four pieces on the record offer different perspectives on how the instrument can sound when softly plucked or strummed with an emphasis on “tetraphonic scales that [Bertoni] could apply on the four main strings as well as the sympathetic group of strings.”
Martina Lussi ~ The Weiertal EP
With The Weiertal EP, Martina Lussi has performed the highly unlikely feat of extracting singles from a soundwalk. The Swiss artist, known for her music, field recordings and installations, has combined all three, offering the original piece as a bonus track. As birdsong proliferates, the breath slows, the heart rate lowers. A cold wind blows and the sound artist’s attention turns to electromagnetic frequencies. One imagines these as channels from wires, sparks from telephone poles, even radio waves and cell tower communications. The electronic accompaniment acts as a serenade, a counter-balance to the harsher tones. After this segment the birdsong will return, but face a different set of challenges, the most intrusive being the unnatural sound of landscapers, demanding aural attention, teaching a different lesson. In a city, there is no geophony or biophony without anthropophony. To hear children and chainsaws in proximity is to make frightening associations that can also be applied to land. Kindly, Lussi drowns the chainsaws in a waterfall as the piece ends, as if proclaiming that nature will have her way.
Michelle Helene Mackenzie & Stefan Maier / Olivia Block ~ Orchid Mantis / Breach
Portraits GRM’s ongoing split series continues with a pair of site-specific recordings from Michelle Helene Mackenzie & Stefan Maier and Olivia Block. When considered together, they operate as a meditation on nature, time and human intrusion. Each composition fills an entire side of the LP, while the digital versions may be purchased separately. In one recording, humans disrupt natural habitats, while in the other, nature begins to reclaim her own. We begin with the latter, inspired by the Sanzhi Pod City in northern Taiwan. From 1978-1980, efforts to construct this futuristic urban retreat were thwarted by accidents and a persistent rumor of supernatural interference. These “UFO Houses,” now fallen into disrepair, still exude a voyeuristic allure.
Rebecca Foon & Aliayta Foon-Dancoes ~ Reverie
What a joy to hear these sisters playing together! Cellist Rebecca Foon is well-known as an integral member of Thee Silver Mt. Zion and Esmerine, while violinist Aliayta Foon-Dancoes has won awards for her own work. Those who saw Esmerine live on their last tour may have had the distinct honor of watching the sisters share a stage, but this is their first recorded collaboration. In addition, each plays piano, which often makes Reverie sound like the work of a small orchestra. Obviously Esmerine fans will be ecstatic, but fans of Rachel’s will also find much to enjoy. The cover provides an indication of the topic. In its quietest, most intimate moments, Reverie celebrates the beauty of nature, a reflection of the hours spent composing and recording at “Rebecca’s converted barn studio in the Laurentian mountains of Québec.” But in its darker, thicker parts, it is also a warning of climate change and the impact of humanity on what it proclaims to love. This infuses the album with tension and contrast, notable both between and within tracks. Musical themes are repeated throughout, especially in the bookends of “Eternal I” and “Eternal II.” While similar, the second is more restrained, pruned to its ivory essence, which one might interpret as loss.
Sage Martens ~ Chamber Music for Lawn Mowers
Summer is near, bringing the roar of lawnmowers, drowning the dawn chorus. From push mowers to ride-a-mowers to massive multi-blade vehicles, the sounds are inescapable. While many wear headsets (tacitly admitting that they are contributing to noise pollution), others prefer the ambient drone. Sage Martens (Matthew Sage & Lieven Martens) have found a way to corral this sound into music. The amusing liner notes are a reminder that fresh-cut lawns are an unnatural thing inherited from the Brits, who were inspired by gazing at Italian paintings. The Americans “supercharged” the activity with fertilizers and weedkillers that often polluted the water supply. So perhaps we need a new symphony.
Various Artists ~ Tension/Release 2
This month marks the five-year anniversary of Portland, OR’s Errorgrid Records, and to celebrate the occasion, they have teamed up with Heterodox Records to produce Tension/Release 2, a sequel to 2021’s Gridworks 1: Tension/Release. Some of the artists are the same while others are new, but the imprint’s raw industrial timbre remains. The theme is “the coexistence of polar opposites and the symbiotic balance of extremes,” exemplified by ten alternating “tension” and “release” tracks. The intention is to create a sense of balance that might be imitated by the larger society, should they ever get their act together. Industrial music has always played with such extremes, never shy about the ugliness of humanity but enamored with its potential. Happy anniversary to Errorgrid Records, whose “darker sounds of a present future” seem less and less like science fiction and more like the daily news.
UPCOMING RELEASES
(complete list with Bandcamp links here)
The cherry blossom micro-season has ended, giving way to the hydrangea season. In like manner, the early spring releases are already out, while colorful new blooms have taken their place. New announcements arrive daily, and new music is sprouting like green grass, bursting through the rain-soaked soil. We hope you’ll find your next favorite album right here!
Amuleto Apotropaico ~ S/T (Perf, 23 May)
Angel Snake / Monopoly Child Star Searchers ~ Snakinist Sand Form (Discrepant, 23 May)
AVA RABIAT ~ Elektro Erotyk (FUU, 23 May)
Ayman Fanous and Joe Morris ~ Zuhour (Infrequent Seams, 23 May)
Buenaventura ~ Gelb (palazzo, 23 May)
Carla Boregas & Anelena Toku ~ Fronte Violeta (Other People, 23 May)
Casanora ~ The Year of the Jellyfish (Infinite Machine, 23 May)
Christian Winther, Anja Lauvdal, Espen Reinertsen ~ Night As Day Day As Night (Sofa Music, 23 May)
Cura Machines ~ Disembody (Bedouin, 23 May)
Dana Schecter & Paul Wallfisch ~ The Heart of a Whale (trost, 23 May)
Dave Liebman, Billy Hart, Adam Rudolph ~ Beingness (Meta, 23 May)
David Cordero ~ Los recuerdos dormidos (Noray, 23 May)
David Van Tieghem ~ Even As We Speak: The Music of David Van Tieghem (Phantom Limb, 23 May)
emptyset ~ Dissever (Thrill Jockey, 23 May)
Eric Arn ~ fixe idee (Carbon/Feeding Tube, 23 May)
Eva Novoa ~ Novoa / Kamaguchi / Cleaver Trio – Vol. 2 (577 Records, 23 May)
Herzog Muche Nillesen ~ anasýnthesi (thanatosis, 23 May)
Johannes Malfatti ~ Fragments (LINE, 23 May)
Joke Lanz ~ Zungsang (23 May)
Jonathon Crompton ~ Cantata No. 1: An Island Seen and Felt (23 May)
Ludwig Berger & Vadret Morteratsch ~ crying glacier (forms of minutiae, 23 May)
Maria Gajraj ~ exhale. (people | places | records, 23 May)
Markus Reuter ~ ❤ (iapetus, 23 May)
Mike Lazarev ~ Tarnished Signals and Saturated Signals (Dronarivm, 23 May)
Mikkel Rev ~ Journey Beyond (A Strangely Isolated Place, 23 May)
Neil Thornock ~ Another and Still Stranger World (New Focus, 23 May)
Novoa / Kamaguchi / Cleaver Trio ~ Vol. 2 (577 Records, 23 May)
peachlyfe ~ Medusa’s Revenge (PEACCH, 23 May)
Quelza ~ Pensa Poetico (Dekmantel, 23 May)
Tatsuya Yoshida and Martín Escalante ~ The Sound of Raspberry (Wash & Wear, 23 May)
Tylko Nieświadomi Przeżyją ~ Nigredo (23 May)
claire rousay & Gretchen Korsmo ~ quilted lament (mappa, 27 May)
Ilia Belorukov ~ NRD DRM TWO 2022-2024 (Cronica, 27 May)
Sage Martens ~ Chamber Music for Lawn Mowers (Edições CN, 27 May)
SARCOMA ~ KAAMOS (She/Her, 29 May)
Abul Mogard ~ Quiet Places (Soft Echoes, 30 May)
Bella Wakame ~ S/T (Umor Rex, 30 May)
CEE ~ Primary Forest 03 (30 May)
Christina Giannone ~ The Opal Amulet (Room40, 30 May)
Dickson and Familiar ~ All the Light of our Sphere (30 May)
Efrén López, Ciro Montanari & Jordi Prats ~ MEL (Worlds Within Worlds, 30 May)
Fredrik Rasten with Asterales ~ Fuse Modulations (thanatosis, 30 May)
Hari Maia ~ The Endless Hum (Room40, 30 May)
Heather Stebbins ~ On Separation (Outside Time, 30 May)
Jackson Hill ~ Empty Egg of Purity (30 May)
Laura Cannell ~ LYRELYRELYRE (Brawl, 30 May)
Leonidas & Hobbes ~ Together (Hobbes Music, 30 May)
Maurice Louca ~ Barĩy (Fera) (Simsara, 30 May)
Only Now ~ Timeslave III (30 May)
People Like Us ~ Copia (Discrepant, 30 May)
Pierre Bastien & Michel Banabila ~ Nuits Sans Nuit (Pingipung, 30 May)
Ricardo Jacinto | Christoph Wellbach ~ FAROL (OSSO-Associação Cultural, 30 May)
Robert Humber ~ Threnody for Rocking Chair (people | places | records, 30 May)
Samir Böhringer Sazzerac ~ Olympia (577 Records, 30 May)
A Spot on the Hill ~ Overtones (30 May)
Swansither ~ Ransack (Subexotic, 30 May)
Tom Chandler & Ritual Ashing ~ Ancient Sea (Searching Records, 30 May)
Various Artists ~ Only Sounds That Tremble Through Us (Bilna’es, 30 May)
Verschrin ~ Fireworks (Altamira, 30 May)
zYklen ~ Desire Paths (Owl Totem, 30 May)
Goldmund ~ Layers of Afternoon (Western Vinyl, 2 June)
Santa Cecilia & Semionauta ~ Transcendence Artificiali: Act I (Strange Therapy, 3 June)
Stilluppsteypa ~ Schokolino Choco Loco (Futura Resistenza, 3 June)
36 & zake ~ Stasis Sounds for Long-Distance Space Travel III (Past Inside the Present, 3 June)
enabler-x ~ Lights in the Sky (4 June)
Elizabeth Klinck ~ Chronotopia (Hallow Ground, 6 June)
Exploding Skull ~ Coyote (Bad Channels, 6 June)
GPS ~ Directions + Destinations (577 Records, 6 June)
Hidhawk + Meanstreetz ~ 1234 (Searching Records, 6 June)
IDTIL ~ A Screensaver of Emotions (Machine Records, 6 June)
Jean-Marie Mercimek ~ Dans Le Camion De Marguerite Duras (Aguirre, 6 June)
Mary Pedicini and Asher Levitas ~ I Wish We Could Tell You Everything (Beyond the Valley, 6 June)
Object Collection ~ Possible Thieves (6 June)
øjeRum ~ Til Vinden I Dine Øjne (Room40, 6 June)
Purelink ~ Faith (peak oil,, 6 June)
Sankt Otten ~ Hymnen und Helden (Denovali, 6 June)
Sankt Otten ~ Tote Winkel (Denovali, 6 June)
Sequence of Events ~ The Art of Memory (Subject to Restrictions Discs, 6 June)
Stephen Vitiello, Brendan Canty, Hahn Rowe ~ Second (Balmat, 6 June)
Wampís of Guayabal & Aboutface ~ Los Bosquesinos (6 June)
zakè | Spieth | Guentner ~ Arcadia (Affin, 6 June)
Fujimine ~ Threshold of Discomfort (7 June)
Nobuka ~ Monologue Intérieur (Audiobulb, 7 June)
Aiko Takahashi ~ The Grass Harp (LAAPS, 9 June)
Salomé Voegelin ~ Cassette Album (Flaming Pines, 9 June)
Anthony Joseph Lanman ~ Hommages (10 June)
Cyrus Pireh ~ Thank You, Guitar (Palilalia, 13 June)
EUS ~ Completud (Pluvial, 13 June)
Fredrik Rasten ~ Murmuration and Stasis (Moving Furniture, 13 June)
Gabriel Brady ~ Day-blind (Tonal Union, 13 June)
Giovanni Di Domenico & Rutger Zuydervelt ~ Painting a Picture / Picture a Painting (Moving Furniture, 13 June)
Good Weather for an Airstrike ~ suspended animation (Echoes Blue Music, 13 June)
Joseph Allred ~ Old Time Fantasias (Scissor Tail, 13 June)
Juri Seo, Latitude 49 ~ Obsolete Music (New Amsterdam, 13 June)
Kate NV ~ Room for the Moon Live (RVNG Intl., 13 June)
Lagoss & Abagwagya ~ Island Slang (Discrepant, 13 June)
Lyra Pramuk ~ Hymnal (7K!, 13 June)
Stefan Wesołowski ~ Song of the Night Mists (TAR/MM/UOH, 13 June)
Wallace, Vazquez, Von Schultz ~ Siesta (577 Records, 13 June)
Thamel & Jean D.L. ~ Temporary End (14 June)
Felix Kubin ~ Der Tanz Aller (Futura Resistenza, 16 June)
Verloren Schatten ~ S/T (Omnempathy, 16 June)
Various Artists ~ TERRAFORM – I Knud Viktors Lydspor (Edições CN, 17 June)
Chad Kouri ~ Mixed (20 June)
Eduardo Ella ~ Desvíos (577 Records, 20 June)
Elskavon ~ Panoramas (Western Vinyl, 20 June)
Hampus Lindwall ~ Brace for Impact (Ideologic Organ, 20 June)
Julien Mier ~ Gradually (Lapsus, 20 June)
Lia Kohl & Zander Raymond ~ In Transit (Un je-ne-sais-quoi, 20 June)
Matmos ~ Metallic Life Review (Thrill Jockey, 20 June)
Mosley Jr. ~ Rollerskate (Mood Family, 20 June)
Osmium ~ Osmium (Invada, 20 June)
Sally Anne Morgan ~ Second Circle the Horizon (Thrill Jockey, 20 June)
Susana López ~ Materia Vibrante (Elevator Bath, 20 June)
Tassery ~ My Own Mirror (Comme dans les films, 20 June)
Vanessa Tomlinson ~ The Edge is a Place (Room40, 20 June)
ZÖJ ~ Give Water to Birds (Parenthèses, 20 June)
Giovanni Di Domenico – Alex Zethson ~ Edge Runner – Noema (defkaz, 22 June)
Sveið ~ Latest Imprints (577 Records, 26 June)
Black Sites ~ R4 (Tresor, 27 June)
Canzonieri ~ All Creature (Kuboraum Editions, 27 June)
Cate Francesca Brooks ~ Lofoten (Clay Pipe Music, 27 June)
Darragh Morgan ~ For Violin and Electronics – Volume II (Diatribe, 4 July)
Jonathan Uliel Saldanha ~ Surface Disorder (Perf, 27 June)
Nev Lilit ~ Hyperit (Moloton, 27 June)
Nitrada ~ Everything That Is Not Counted Will Be Lost (2nd Rec., 27 June)
Pan American & Kramer ~ Interior of an Edifice (Shimmy-Disc, 27 June)
Sary Moussa ~ Wind, Again (Other People, 27 June)
sofii ~ i want this feeling to last forever (Soul Feeder, 27 June)
Stephen O’Malley ~ But remember what you have had (Portraits GRM, 27 June)
Tropos ~ Switches (endectomorph music, 27 June)
Zimoun ~ Harmonium I-IV (Room40, 27 June)
Amina Hocine ~ ātamōn (Subtext, 2 July)
Rival Consoles ~ Landscape from Memory (Erased Tapes, 4 July)
Traverse ~ It’s Broken (Somewherecold, 4 July)
V/A ~ Perceptions Vol. 6 (Bigo & Twigetti, 4 July)
Yann Novak ~ Continuity (Room40, 4 July)
Lewis Fautzi ~ Unwritten Chapters (Faut Section, 7 July)
Aho Ssan & Resina ~ Ego Death (Subtext, 11 July)
Alan Noblock, John Butcher, Mark Sanders ~ Tectonic Plates (577 Records, 11 July)
Benoît Pioulard ~ Stanza IV (Disques d’Honoré, 11 July)
Fuubutsushi ~ Columbia Deluxe (American Dreams, 11 July)
Hammock ~ Nevertheless (Hammock Music, 11 July)
phase space ~ Degrees of Freedom (11 July)
Reid Willis ~ Reliquary (Mesh, 11 July)
Siavash Amini ~ Caligo (Room40, 11 July)
Yearns ~ Fata Morgana (Room40, 11 July)
David Donohoe & Kate Carr ~ A Storm and its Aftermath (Flaming Pines, 18 July)
Norman Westberg ~ Milan (Room40, 18 July)
Shrunk feat. Fabiana Striffler ~ Pixie People (577 Records, 18 July)
Universal Affirmation Ensemble ~ Unconditional Propositions (Katuktu Collective, 24 June)
Eric Siereveld’s Organic Quintet ~ Sweet William (Shifting Paradigm, 25 July)
Shelley Burgon ~ The In Between (Thin Wrist, 25 July)
Kory Reeder ~ In Place (thanatosis, 29 July)
Madeleine Cocolas ~ Syndesis (Room40, 1 August)