A CLOSER LISTEN weekly #87
Emotive Hardcore Mix, Ukrainian response to Spotify takedowns, and many reviews
Dear Listeners, Joseph again for a regular newsletter compiling the best from our blog, A CLOSER LISTEN. I’ve mentioned before my appreciation for the podcast CRIMINAL, which avoids all the most nauseating tropes associated with “true crime” shows in favor of something much more affective, a spirit full captured in their spin off, This Is Love. Recent Criminal episode “The Double” tells the story of two men claiming to be William Woods, a story of identity theft, abuse of power, and dark humor that could easily have come straight out of a billy woods rhyme.
Last week I had another bit of a nostalgia trip when I found myself on the guest list for a concert featuring Anthony Green and Geoff Rickly. I first encountered Green as singer of Saosin many years ago, and was an enthusiastic listener to the first few Circa Survive records, but I’ve mostly lost touch with anything released in that scene post-2011 or so. But my connection to Rickly is a bit deeper, having first scene Thursday in a firehouse in New Jersey back in the summer of 2000. 25 years is a long time, and Thursday is probably still the band I’ve seen more than any other (something like 40+ occasions), besides my friends’ bands. I know like other frontmen of their geneation, Rickly and Green have been doing solo tours, sometimes playing new material but often doing solo/acoustic versions of their bands’ music. I hadn’t seen them do their solo performances before, nor have I followed their careers very closely in recent decades, though the release of Rickly’s psychedelic autofiction addiction memoir Someone Who Isn’t Me (2023) put Geoff back on my radar. There was quite a good bit of press in our neck of the woods: a chat for Herb Sundays, where Sam Valenti IV, who wasn’t particularly familiar with Rickly’s music, focused on the book; another deep dive into the book with BOMB; and Claire Biddles spends a bit more time discussing the music for Tone Glow.
In his solo set, which includes acoustic versions of “Understanding in a Car Crash” and “This Song Brought To You By A Falling Bomb,” Rickly spends equal time telling stories and doing a bit of a stand up routine to lighten the mood. Looking back on Thursday, the themes of loss, addiction, and depression are more than obvious, though importantly the PTSD of it all registers different from the perspective of middle age. I’d recently had a similar revelation listening to this Cause & Effect: Emotive Hardcore mix, where Geoff joined our friend GENG in a strange occasion of worlds colliding. Alongside the host, the two guests selected a bunch of old “emotional hardcore” / “screamo” / “Emoviolence” tracks, including from Moss Icon, Mohinder, Ink and Dagger, Usurp Synapse, You and I, Yaphet Kotto, Circle Takes the Square, Off Minor, and much more.
In other nostalgia news, I finally listened to the cover album Refused released as part of the 25th anniversary edition of their classic (a personal favorite of mine) The Shape of Punk To Come (1998). Released late last fall, The Shape Of Punk To Come Obliterated finds multigenerational talent including Quicksand, Snapcase, Cold Cave and Touché Amoré reinterpreting Refused. I was perhaps most impressed by Brutus’ subtle transformation of “Deadly Rhythm,” as so many of the artist took very few liberties with the arrangements. As much as I enjoyed Idles remix of “New Noise,” which leads into an intense version by Ho9909, it seems like an oversight to not include a version of “Bruitist Pome #5,” which was particularly influential on young listeners like me back in the late ‘90s. Part of what made Shape so revolutionary, besides its allusions to anarchism and situationism and so on, was the willingness the band showed to work with genres and instrumentation far outside the ordinary punk routine. The window into Euro techno “Bruitist,” the slow tension building of the strings on “Tannhäuser,” and especially the burning restraint of the closing track, “The Apollo Program was a Hoax.” Cult of Luna does something interesting with “Tannhäuser / Derive,” and Touché Amoré’s melodramatic take on the closer is interesting, but ultimately I’d rather return to the original.
Since I’m on a nostalgia kick, I also want to shout out Vish Khanna’s podcast Kreative Kontrol, which recently passed their 1000th (!!!) episode. The last time I mentioned Vish here was way back in ACL #3, when the first “Godspeed” tape finally leaked and he had Efrim on the show to discuss. Efrim rather famously doesn’t give many interviews, so it says a lot about Vish’s integrity and skills as a host. So perhaps it comes as little surprise that, for his 900th episode, Vish was able to get all four members of Fugazi together with director Jem Cohen to look back at Instrument, surely one of the greatest music documentaries. Listen to the full episode here. (The Instrument soundtrack really holds up well. I think they were joking about “Me and Thumbelina,” but “I’m So Tired” actually has become their most-streamed song—almost certainly by those who don’t regularly listen to the band, but still an interesting development).
One more bit of retro news, William Basinski has announced preorders for another reissue of The Disintegration Loops, this time styled as the Arcadia Archive Edition, remastered for vinyl and CD boxsets with a new foreword by Laurie Anderson.
This week’s radio show features a special mix I made for Palestine. Some of the tracks come from DJ Haram’s new LP, while many are drawn from benefit compilations including ENOUGH!, MAKE FUZZ NOT WAR, NO SILENCE- A Benefit Compilation for Radio alHara, and RESIST COLONIAL POWER BY ANY MEANS NECESSARY. The opening track comes from La Cantata Rossa, while Fairuz’s “Wahdon” is the penultimate track, written by her recently departed son, Ziad Rahbani, with some lead in from Fabrizio De Andre’s “Sidun.” Listen via on CAMP this Sunday at 6pm CET, and available on their Mixcloud soon after.
Now to get into the newsletter. Let’s kick things off with the latest report from Gianmarco Del Re.
Ukrainian Field Notes XLVI
Lots of in depth interviews this month mostly recorded back in May in Ukraine which you can both listen to and read. In Dnipro, I reconnect with old friends Roman Slavka, Eugene Gordeev and Igor Yalivec to talk about Module and the local scene.
In Kyiv, I discuss the whole notion of the “good Russian” with Giorgiy Potopalskiy, one of the very first artists to feature in Ukrainian Field Notes back in March 2022.
Furthermore, Oleksii Podat shows us photos from relatively safe spaces and puts things into perspective through his experience with war in Sloviansk back in 2014.
A welcome tea break came courtesy of Oleksandr Ostrovskyi and Tetiana Novytska from the classical music website The Claquers (which has just publisehd and in-depth interview with ACL favourite Katarina Gryvul) while Gordiy Starukh plays the hurdy-gurdy in Krakow.
But to begin with here is the monthly UFN Resonance FM podcast with John Object one of the most outspoken and interviewed electronic artist in Ukraine.
Tracklist
John Object – 500mg [VA – Intermission]
John Object – Demo New Life Immediately (2015) [Life]
John Object – Famous Eyes (live 2021)
Група Б – Нічні кімнати [Drones for Drones, Volume 3]
John Object – East Piano [Piano]
birdsandpeople – Bakhmut Song [Syndrome]
John Object – Kiss (Live 2020) [Sweat]
The full transcript of the interview is at the end to respect the chronological order the interviews were taken. Ad yes, it is our longest interview to date.
This month we also have three more podcasts which are to be found below before their respective interviews. But before we do get stuck in with the interviews, here’s the usual Spotify playlist featuring our interviewees and recent releases.
On the subject of Spotify, a few international artists recently pulled their material from the streaming site in protest to David Ek’s investment of more than €600 million (around $640 million) in Helsing — a German defence technology company that produces and supplies AI-powered drones, including thousands already delivered to Ukraine.
Criticism of Spotify has long been rife in the blogosphere. “Being on a streaming platform that pays musicians so unfairly has always been annoying, but somehow I could live with it,” is a typical example (@thebluesagainstyouth) generally followed by a variation on the following, “Daniel Ek’s investments in AI weapons cross a line for me” (@sleeppartypeople).
The tipping point for many has indeed been the headline news that Prima Materia, the investment company founded by Ek and early Spotify investor Shakil Khan in 2020, has doubled down on its original investment in Helsing with Ek becoming chairman of the company. This was enough to unleash a frenzy of outrage from “leftsplaning” bands raging against the war machine. Not everyone was impressed. And not just in Ukraine.
We have never been great fans of Spotify here at ACL either, but for Ukrainians who are trying to survive and have seen the delivery of Patriot Systems being halted, only to be resumed a few days later in the now customary Trump’s decision making roller coaster, this moral outrage is possibly misplaced.
Tellingly, the debate revolves mostly on what the best streaming services might be, rather than engaging on the actual topic of drones. Instead of scrutiny into Helsing’s ethical claims, calibrated on the Economist’s democracy index, critics prefer to conflate Ek with AI warfare, facial recognition, ICE and the Trump administration, turning this into a US centric argument. The fact that the Spotify crusade is led by bands that seem to justify, or at least explain, Russia’s invasion of Ukraine as a response to Nato expansionism highlights how ideological the issue has become.
Yes, Ek and Prima Materia have made an investment and are looking to make a profit, that’s what investors do. Helsing have always sought to attract a broad range of investors, while committing to remain independent with plans to take the company public in the future rather than sell.
And no, this is not an ad for Helsing, who have made a long-term commitment to Ukraine, but whose own track record is seemigly contested. But their AI sofware is currently saving lives in Ukraine. And yes, there are other similar European startups such as Tekever and Quantum Systems also doing very well. At the same time, there are also Russian made drones, the MS001 for instance, that use Nvidia tech from the US. To focus on Ek is a distraction. Whether one likes it or not there is a war in Europe, one that the EU has been unable to respond to effectively.
ACL might not be the right forum to discuss such issues in depth, but this is also the reason I started this series in the first place, as the voice of Ukrainians on the receiving end of unrelenting shelling is all too often missing from the discourse. A number of the artists I have interviewed over the course of three and half years have had to learn to make and operate real drones, as this 30 minute documentary on Arte featuring Ice and Petstep, both from Dnipro’s electronic scene, testifies.
So, to better understand the reality of the battlefield in Ukraine, let’s hear it from Nataliya Gumenyuk, a Ukrainian journalist embedded on the frontline. But before that, a quick disclaimer, all of the above does not reflect ACL’s editorial stance, it is my own personal position.
To close proceedings we have a great batch of new releases courtesy of Igor Yakimenko, LUCIVORA, SHKLV, djsnork, ROSS KHMIL, xtclvr, Natalia Tsupryk, Rudni, invisible noise monasticism/нойз галичина, Manoua, and two VA compilations from Telesma and Shum Rave, the latter one made from their recent sample pack from Crimean Tatar musicians.
In the viewing room we feature Katarina Gryvul, Cepasa, Tucha and Sawras.
As a closing remark, it is sad to note that the Russian cultural offensive is back in full swing with Anna Netrebko and Valery Gergiev set to appear on the international stage in a busy summer schedule. Both Netrebko and Gergiev are supporters of Putin. Gergiev, in particular, will be conducting Tchaikovsky’s 5th Symphony at the Reggia di Caserta in Italy under the usual (naive or complicit) pretence that art should be divorced from politics, blindley ignoring how Russian music has been weaponised.
I hope you’ll find something of interest in these pages. UFN will be back in September.
Mini-Reviews
Short highlights of releases that haven’t received full reviews
Earth Sounds Now ~ Convergence
Over a year of collaborative sessions from the Earth Sounds Now collective, edited down by Nicolás Jaar with contributions from Stefan Christoff, Asher Gamedze, Büşra Kayıkçı, and Kaie Kellough.
GIUSEPPE IELASI & RICCARDO D. WANKE ~ with time, we learned to ask less
Ielasi continues to explore his return to unhurried guitar improvisations alongside Riccardo D. Wanke’s electric piano.
Infinity Knives & Brian Ennals ~ A City Drowned in God's Black Tears
Not quite a proper follow up to their excellent King Cobra (2022), A City Drowned in God's Black Tears is still searingly relevant. Ennals’ rhymes are as blunt as ever, while Infinity Knives production continues to impress, including with instrumental tracks and more diverse instrumentation.
Mike Shabb ~ shabbvangogh
Montreal’s hardest working and most promising young rapper turns in an AOTY contender with shabbvangogh.
Moe Moussa / Poppy H ~ Displaced Heart
Poet Moe Moussa speaks to his experience of genocide in Gaza in this urgent collaboration with British musician and producer Poppy H.
Molly Joyce ~ State Change
Experiments with adaptive music technology transforms childhood trauma into seven conceptually daring electroacoustic tone poems.
Sunmundi & Sasco ~ Contacting
A compelling debut from rapper-producer duo decoding contemporary communications, with features from fellow travelers including shemar, Hester Valentine, and Defcee.
Water Damage ~ Instruments
Water Damage are kind of a one trick pony, but it’s a really great trick. We loved their contribution to Longform Editions last year, and have since enjoyed digging into their archive of tons of live recordings. We’re anxiously awaiting the release of Live at Le Guess Who? later this summer, but May’s Instruments is still fresh and holding our attention. Easily one of my favorite group recordings of 2025.
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.
Aho Ssan & Resina ~ Ego Death
The instinctive collaboration between Aho Ssan & Resina (Niamké Désiré & Karolina Rec) started at the Unsound Festival, continued on Rhizomes (ACL’s #2 album of the year in 2023) and blossoms on Ego Death, an engaging nine-part suite for cello and electronics. At the core of the project is a question once relegated to the realm of sci-fi, but which now seems increasingly possible: what happens when human intelligence is transferred to the electronic realm? Various television shows, from Pantheon to Upload, have speculated about the possibilities, while the film Lucy now seems surprisingly prescient. The album honors each of these by wondering about Ego Death and whether it would benefit or hinder the individual. Cleverly, the interplay between organic and electronic instrumentation reenacts the plot and the possibilities, and no spoiler alert is needed to tell prospective listeners that the integration is seamless: bold and experimental, while highlighting the positive aspects of science.
Budos Band ~ Budos VII
Staten Island nonet Budos Band return for their mighty seventh offering, on which they continue to fine-tune their fusion of funk, rock and afro-beat. While the album continues to admire 70s hard rock, as evident in its Uriah Heap-infused art and proto-metal dabblings, VII is possibly the most “metal” Budos Band record yet, even more so than 2019’s V. VII effortlessly mixes a myriad of influences, from Mulatu Astatke to Ennio Morricone. It does so while exploring more uncharted territory for Budos Band, seamlessly incorporating newer sounds into their ever-expanding synthesis of musical disciplines.
Disiniblud (Rachika Nayar and Nina Keith) ~ Disiniblud
Start with mid-period Sigur Rós, blend it with early Morr Music and múm, add a touch of Where the Wild Things Are and you’ve got Disiniblud, the brand new duo of Rachika Nayar and Nina Keith. The Sigur Rós comparison is intentional, as the video for the title track is an homage to “Gobbledigook.” Disiniblud isn’t just a duo; guest stars abound and the set feels like a collaborative effort [Julianna Barwick, Tujiko Noriko, Cassandra Croft, ASPIDISTRAFLY, Katie Dey, June McDoom and Ponytail's Willy Siegel]. The album creates a fantasy land in which everyone is welcome to frolic and play: no judgment, no questions asked. It has the look and feel of a benign fairy tale, which serves as an alternate universe; the imagination is where people may head to regain their energy in a hostile world. The sheer joy of the all-trans cast in “Disiniblud” is infectious; the voices heard in the track are drawn from across the album’s span, united for a common cause.
Gonçalo F. Cardoso ~ Impressões de Várias Ilhas
Imagine you are on an island: an imaginary island comprised of pieces of all the islands you’ve visited and dreamt of visiting. This is the vision created by Impressões de Várias Ilhas, the third is a triptych of island-themed albums from Gonçalo F. Cardoso, but the first to cover a region (Macaronésia) rather than a single location. The LP is part reality, part fantasy, casting a net across the Azores, Cape Verde and Canary Islands, folding in processing and new instruments, casting a summer-like spell. The set begins and ends with field recordings, but travels far in-between, like the reverie of imagined travel. Impressões de Várias Ilhas was never intended to reflect how Macaronésia sounds as much as how it feels. The album produces a vast feeling of peace, a surrender to time and tide, snapping back to reality in its amusing coda, “O Peixe tá Congelado” (“The Fish Is Frozen”), glowing with the sound of laughter and the comfort of home.
Laura Cannell ~ A Compendium of Beasts Volumes 2 & 3
Laura Cannell‘s beguiling series A Compendium of Beasts continues with two new installments, bringing the total number of creatures to an even dozen. These beasts may be real or imaginary, literary or extinct. The semi-composed, semi-improvised nature of the recordings mimics the backgrounds of the beings. The fun is in the scoring: what the artist calls “A Modern Bestiary in sound.” One may take these recordings at face value, or glean hidden meanings; the latter will differ from person to person. One of Cannell’s stated themes: to search for inspiration from the animal kingdom, “meaning amidst chaos.” Once upon a time, not too long ago, humans believed that they represented order, and the rest of the animal kingdom chaos; now we know the opposite to be true; and therein lies the beauty of this ongoing series.
Rival Consoles ~ Landscape from Memory
Rival Consoles (aka Ryan Lee West) is a prolific artist, typically releasing consecutive full-length albums with less than a year’s time in between. Landscape from Memory comes after somewhat of a creative block– we reviewed West’s last album, Now Is, three years ago. Landscape from Memory draws on soundbites the artist had sidelined over the past few years. Returning to these snippets and developing them after a period of reflection has allowed West to create an intimate and stirring listening experience.
tedzi تدزي ~ Mn Dehab
tedzi تدزي‘s Mn Dehab may begin and end in drone, but there’s a lot of anger in-between. The Lebanese artist, now located in Berlin, uses the liner notes to express what is not explicit in the instrumental set, but which can be gleaned from its timbre. The … wall of sound that slowly recedes from noise to drone, and then to ambient, and then to silence. It’s easy to sense the implications. Mn Dehab holds a mirror to the world, and dares the world to look back.
Yoichi Kamimura ~ ryūhyō
Yoichi Kamimura must have had a sinking feeling when local elders informed him that despite all his hard work and years of field recording, he had failed to capture the true sound of Ryūhyō-Nari (drift ice noises). Undeterred, the artist continued to record and preserve the sounds of the Sea of Okhotsk, year after year, producing a snapshot of what Ryūhyō-Nari sounds like today. These may not be the same sounds that prior generations experienced, but perhaps new sounds, themselves endangered, which forty years from now may be recalled with a similar blend of nostalgia and sorrow. ryūhyō is the third installment of forms of minutiae’s ice series, which is part of UNESCO & WMO’s Art for Glaciers Preservation; by year’s end, we will hear two more.
UPCOMING RELEASES
(complete list with Bandcamp links here)
We’ve been waiting all year for summer, and now it has finally arrived! Schools are out, vacations are planned, cars are packed and the beaches beckon. The music release schedule slows down to make space for the concert season, but there’s still plenty of brand new music to look forward to: a steady stream of new releases eager to serve as the soundtrack to summer. We hope you find your next favorite album right here!
Akhira Sano ~ D-R (LAAPS, 28 July)
Sideways Ebb ~ Sad Buffer V (28 July)
Kory Reeder ~ In Place (thanatosis, 29 July)
John Larson ~ Through the Stillness, Through the Dark (31 July)
Andrew Staniland ~ The Laws of Nature (Leaf Music, 1 August)
Andy Graydon & Klaus Janek ~ A Book of Waves (Room40, 1 August)
Benjamin Sheehan ~ Arrival and Farewell (1 August)
Brian Wenckebach ~ Memory & Anticipation (Somewherecold, 1 August)
Burial Tree ~ The Power of Myth (Subcontinental, 1 August)
Caimin Gilmore ~ BlackGate (New Amsterdam, 1 August)
Carolyn Fok ~ Chrysalis (1 August)
Dolores Mondo Stash ~ Dirt Collected Reminiscences, Like Rivers of Molasses (Cruel Nature, 1 August)
Eva Novoa ~ Novoa / Gress / Gray Trio, Vol. 2 (577 Records, 1 August)
Federico Mosconi feat. Barbara De Dominicis ~ Frammenti (Dronarivm, 1 August)
Felicity Mangan ~ String Figures (Elevator Bath, 1 August)
High Gardens ~ Secret Places of the Lion (Not Not Fun, 1 August)
Keefe Jackson, Jakob Heinemann, Adam Shead ~ Stinger (Irritable Mystic, 1 August)
Madeleine Cocolas ~ Syndesis (Room40, 1 August)
René Najera ~ Painted Life (100% Silk, 1 August)
Stephen Finn, Sylvain Monchocé, Jung-Jae Kim ~ Quark (Creative Sources, 1 August)
Viv Corringham ~ Soundwalkscapes (volume 2) (Flaming Pines, 1 August)
Wil Bolton ~ Rusted in the Salt Air (Home Normal, 1 August)
Autistici ~ Familiarity Enfolded (Audiobulb, 2 August)
David Boulter ~ Whitby (Clay Pipe Music, 2 August)
Professor Flitch ~ Uneven (3 August)
Bit Cloudy ~ U.S. Nadir (8 August)
Jonathan Moritz Trio Secret Tempo ~ Love You to Death (Infrequent Seams, 8 August)
Matt Goodluck ~ Portals (8 August)
Meitei ~ Sen’nyū (Kitchen, 8 August)
Stick Men ~ Brutal (iapetus, 8 August)
Tom Gershwin ~ Wellspring (8 August)
Tony Orzano, Bryan Rohmer, Jeremy Wexler ~ Balloons on Grass (577 Records, 8 August)
Erik Griswold ~ Next Level Avoidance (Room40, 9 August)
Mondo Lava ~ Utero Dei (Hausu Mountain, 12 August)
Francesca Marongiu ~ Still Forms in Air (Umor Rex, 14 August)
Aki Onda ~ In the Depth of Illusion: A Soundtrack for Nervous Magic Lantern (Room40, 15 August)
Galactic Sound Station ~ Music for the Mental Health of Astronauts (Volume 1) (15 August)
Jake Baldwin ~ Vanishing Point (Shifting Paradigm, 15 August)
Lingyuan Yang ~ Cursed Month (15 August)
The OO-Ray ~ Marginals (Beacon Sound, 15 August)
Peter Chilvers ~ Dust 4 (Curious Music, 15 August)
Steve Gunn ~ Music for Writers (Three Lobed Recordings, 15 August)
Conrosa ~ Held in the Unfolding (16 August)
Hand to Earth ~ Ŋurru Wäŋa (Room40, 22 August)
Karl Evangelista’s Apura ~ Bukas (577 Records, 22 August)
Moses Brown ~ Stone Upon Stone (Post Present Medium, 22 August)
Richard Carr ~ The Escarpment (Infrequent Seams, 22 August)
Scree ~ August (Ruination Record Co., 22 August)
Murcof ~ Twin Color (Extended Play No. 2) (InFiné, 26 August)
V/A ~ Ping Volume One (Different Circles, 27 August)
Benny Nilsen ~ True than Nature (Ideologic Organ, 29 August)
Christian Wallumrod ~ Percolation (Sofa Music, 29 August)
C.R. Gillespe ~ Island of Women (sound as language, 29 August)
Dan Rosenboom ~ Coordinates (Orenda, 29 August)
Galya Bisengalieva ~ Polygon Reflections (One Little Independent, 29 August)
Mast Years ~ Mast Year (29 August)
BBJr ~ The Antique Heartbeat (No Part of It, 1 September)
Lorenz Weber ~ Coordinates of Existence (1 September)
Jetski ~ The Radiant Radish (Hausu Mountain, 2 September)
Richard Hronský ~ Pohreb (mappa, 2 September)
Alessandro Bosetti ~ Carnaval 2 (three:four, 2 September)
Chip Wickham ~ The Eternal Now (Gondwana, 5 September)
Emil Fris ~ Moving Images (FatCat, 5 September)
Eventless Plot | Savvas Metaxas | Spyros Emmanouilidis ~ Undertow (Innovo Editions, 5 September)
Flur ~ Plunge (Latency, 5 September)
Gwenifer Raymond ~ Last Night I Heard the Dog Star Bark (We Are Busy Bodies, 5 September)
lynyn ~ Ixona (Sooper, 5 September)
Matthew Putman, Hill Greene, Francesco Mela ~ Believe That Was Me (577 Records, 5 September)
Matthew Ryals ~ Exalge (Infrequent Seams, 5 September)
Ørdop Wolkenscheidt ~ The Years of Rain and Thunder (5 September)
Secular Music Group ~ Volume 2 (Love All Day, 5 September)
Torpa ~ New Low (5 September)
Seth Thorn ~ a curious doubling of terms (Audiobulb, 6 September)
Rutger Zuydervelt ~ The Wonder of It All (music for a performance by Daniel Linehan/Hiatus) (9 September)
Ujif_notfound ~ Postulate (I Shall Sing Until My Land Is Free, 9 September)
Jansen Interceptor ~ Interception (International Chrome, 11 September)
Dun-Dun Band ~ Pita Parka, Pt. II: Nim Egduf (We Are Busy Bodies, 12 September)
Ida Urd & Ingri Høyland ~ Duvet (Balmat, 12 September)
Isambard Khroustaliov / Ben Carey ~ Field Recordings From Other Constellations (Not Applicable, 12 September)
Katharina Ernst ~ EXTRAMETRIC II (Extrametric, 12 September)
Lawrence English ~ WhiteOut (Room40, 12 September)
Matt Bachmann ~ Compost Karaoke (Orindal, 12 September)
Modeselektor ~ DJ-Kicks: Modeselektor (!K7, 12 September)
Oren Ambarchi & Frederik Rasten ~ Dragon’s Return (Viernulvier, 12 September)
Tomas Fujiwara ~ Dream Up (Out of Your Head, 12 September)
Venera ~ Exinfinite (PAN, 12 September)
Verses GT ~ Verses GT (LUCKYME®, 12 September)
The Dwarfs of East Agouza ~ Sasquatch Landslide (Constellation, 15 September)
SANAM ~ Sametou Sawtan (Constellation, 15 September)
Brunhilde Ferrari ~ Errant Ear (Persistence of Sound, 19 September)
Oasis Boom ~ Cactus Dust (Dur & Doux, 19 September)
øjeRum ~ Drømme I Langsomt Stof (Glacial Movements, 19 September)
Weston Olenki ~ Broadsides (Outside Time, 19 September)
Danek Lipko ~ Eclipsoid (Somewherecold, 24 September)
Annette Vande Gorne ~ Tutti Frutti (Persistence of Sound, 26 September)
Bruno Duplant & Judith Wegmann ~ Univers Parallèles – Des Nuits Et Des Jours (Moving Furniture, 26 September)
Early Fern ~ Wetland Interiors (sound as language, 26 September)
Fani Konstantinidou ~ Undertones (Moving Furniture, 26 September)
Grandbrothers ~ Elsewhere (_and_others, 26 September)
Hatis Noit ~ Aura Reworks (Erased Tapes, 26 September)
Heirloom ~ Familiar Beginning (Shifting Paradigm, 26 September)
M. Sage ~ Tender / Wading (RVNG Intl., 26 September)
Nastia Reigel ~ Identity (Infrastructure New York, 26 September)
Nobukazu Takemura ~ knot of meanings (Thrill Jockey, 26 September)
Sam Prekop ~ Open Close (Thrill Jockey, 26 September)
Spyros Polychronopoulos & Yorgos Dimitriadis ~ Nearfield (Room40, 26 September)
Call Super ~ A Rhythm Protects One (Dekmantel, 28 September)
Marta Forsberg ~ Archeology of Intimacy (Warm Winters Ltd., 3 October)
Sergio Merce ~ Archipiélago (Room40, 3 October)
The Corrupting Sea ~ Symphony of a Radical II (Somewherecold, 4 October)
Richie Culver ~ I Trust Pain (Supernature, 10 October)
V/A ~ TD10 (Timedance, 10 October)
Fatan Kanan ~ Diary of a Candle (Fire, 17 October)
will sōderberg… ~ let the machines sing… [2] of desire to salvage (Machine Records, 17 October)