A Closer Listen
Post-rock fans will have plenty to rejoice about this fall as a host of big names are preparing new albums. Explosions in the Sky, world’s end girlfriend, Grails and Spurv are just the tip of the iceberg. We’ve been waiting years for some of these albums, and now they are all being released at once! But wait, there’s more ~ step outside the boundaries of post-rock and you’ll find a host of other worthy releases, including two very different scores for Nosferatu, arriving just in time for Halloween.
We hope you’re as excited as we are! For more new music throughout the season, be sure to visit our Upcoming Releases page, updated daily with new previews. And now, the post-rock cavalcade!
The last album world’s end girlfriend released arrived late in the year and topped our 2016 chart. Resistance & The Blessing is even more ambitious, despite the fact that Last Waltz was about the end of the world. The new set is a 35-track beast on 4 LPs or 3 CDs. No matter how one looks at it, the album is huge. If the first single, “IN THE NAME OF LOVE,” is any indication, we’re in for quite a treat ~ and this time we won’t have to wait, as Virgin Babylon is releasing the album tomorrow, September 9! Also upping their game is Norwegian band Spurv, Choir, brass and strings enhance the surging guitars, producing a feeling of height and depth, an immersive experience. Brefjære is also a concept album, imagining a conversation between a birch tree, a butterfly, a mountain and the wind (Pelagic, September 22).
Explosions in the Sky made a big splash with Big Bend a couple years back, but End is their first non-soundtrack album in seven years, and the last one arrived five years before that. The band is in fine form; arguably, they’ve never made a bad album, and we suspect their patience is part of their formula (Temporary Residence Ltd., September 15). Grails returns after a six-year silence with Arches En Meat, a wild combination of spaghetti western, loungecore, electronics and of course, post-rock! The now quintet continues to stretch their boundaries while remaining true to their roots. This album is also on Temporary Residence Ltd., arriving only a single week later on September 22.
Also pulling out all the stops is Collapse Under the Empire, who is offering their new album Recurring as part of an eleven-LP box set called Works 08-23, containing everything the band has ever done, most of which is appearing on vinyl for the first time. If the thought of playing Collapse Under the Empire tracks from sunrise to sunset without repetition appeals to you, act quickly (September 29)! Trumpet is a great adornment to GLEN, whose album I Can Hear No Evil keeps its foot on the gas pedal from beginning to end, with only a short respite in the penultimate piece. The album scores a not-so-futuristic dystopia in real time; turn the sound off on any news channel and let this be the score (Sound Effect Records, October 20). The Color of Cyan releases a more reddish album called Egress on September 1. Bolstered by a string ensemble, the trio muses on “time, love and pain,” subjects ripe for large treatments. As the bass player for pg.lost and the Kristian Karlsson player for Cult of Luna, Kristian Karlsson has a lot of post-rock experience, which he puts to use as Soars. Repeater adds Cult of Luna live drummer Christian Augustin, because it’s really hard to play all three instruments at the same time (Pelagic, November 1). Vathres continues the season’s bigger-is-better theme as an intimidating 14-piece ensemble with timbres akin to GY!BE. Liturgy of Lacuna is the brainchild of Alex Zethson, and runs the gamut from orchestral reflection to metallic cacophony (Thanatosis, October 6).
Rock Expansions
Teeth of the Sea continues to morph and evolve. Hive, loosely based on the Frank Herbert novel of the same name, has a groove, and you can dance to it. At other times, the set turns psychedelic and even industrial. There are even some vocals, but don’t let them scare you; the stinging creature on the cover is far more frightening (Rocket Recordings, October 6). Fred und Luna have compiled Future Sounds of Kraut, which showcases over a dozen artists, established and new. Consider the album a sneak peek into a vibrant yet underreported scene (Compost Records, September 1). Also combining rock and electronics, Vienna’s Radian makes a welcome return, sprinkling guitar segments around in loops and dots. Distorted Rooms honors its title not only with literal, but temporal distortion (Thrill Jockey, September 22). More new krautrock appears on Fluxus 2071, the upcoming album from Sounds of New Soma, preceded by danceable single Bunte Motten (Tonzonen). “GAF are back!” proclaims Discrepant, as proven by the semi-improvised cosmic rock of Gaf y la estrella de la muerte. The album will be out in early September. German super-quartet The Shredz call themselves “krauty,” and prove it on Orbit with healthy doses of dub, groove and funk (September 1).
Denovali has four releases up for pre-order. Our most-anticipated of the four comes from The Lovecraft Sextet, an offshoot of The Kilimanjaro Darkjazz Ensemble. As expected, the music is dark and deep. The unexpected treat is that a special edition in hardcover story book is available (October 27). Jason Kohnen also appears on MaskXSoul‘s Oregen, a darkjazz album that highlights the Russian literature and voices, released the same day. Notilis returns with II, a brass-heavy combination of jazz, techno and rock (October 13). Metal and beats meet on Spark and Earth, from guitarist and synthesist Mario Diaz de Leon. The album has a dramatic flair suitable to cinema, with synthesized choir (October 6).
Classical music collides with progressive heavy metal on Calibrating Fiction, a career-defining work from Haralabos [Harry] Stafylakis, who recruited a supergroup to bring his vision to life. We suspect the concert experience will be particularly memorable (New Amsterdam, September 15). The moody, doomjazz-laden Idylle is the first taste of Adria, from the somewhat-supergroup Zahn (Crazysane, November 24). Slow Draw‘s The Mystic Crib is more sedate, yet shares a smoky room vibe (November 10). One man band At the Grove offers a muscular blend of classic and post-rock, with the requisite highs and lows. Infinity is out September 22 on De Mist Records.
Equipment Pointed Ankh‘s Downtown! is bouncy, groovy and tongue-in-cheek, am alternative to heavier fare. The addition of melodica, flute and horns lightens the listening experience, inviting listeners to bob their heads or even dance (Torn Light, September 29). Similar things might be said of Keope, whose jam sessions include sparse lyrics and a variety of rhythmic influences. After hearing FLIKKA FLOKKA, we suggest these two groups get together and consider a tour (Bigamo, September 15). Parachute for Gordo has a lot of fun on the Affe Zu, Klappe Tot EP, changing styles with abandon and inventing new terms like “post-emo,” which it applies to lead single Lizard B-Movie (Not Clean Records, September 1).
Nosferatu receives two new scores this fall. The first comes from Earthset, a rock/post-rock explosion that honors the drama of the original film. Then there’s an improvised “spontaneous” score from Dylan Jack Quartet, heavy on trumpet and mood. Eine Quartett Des Grauens may require a little more synching, but the fun is in the comparison of the two. One might even write a term paper on the different ways in which music can affect the appreciation of cinema, using these and other previous Nosferatu recordings as templates. (One such score comes from metal monsters Sleepbomb, who also has a new album coming this fall on Koolarrow Records.) Both new scores are released October 27, the latter on Creative Nation Music.
Alan Courtis and David Grubbs each play acoustic and electric guitars on Braintrust of Fiends and Werewolves, which is not as scary as it sounds, despite the label’s description of Courtis as a “monster guitarist” (which we believe would make Grubbs the “fiendish” guitarist in this pairing). The timbres may vary, but the tone is always friendly (husky pants, September 8). Guitar, synth and flute are at the core of Adam Coney‘s Ashwin & Above, our preview’s most far-off release. Fortunately The Close Stage is already streaming (Trestle, November 24). L.A. session guitarist Andrew Synowiec does just what the title of his album suggests by having Fun. The album personifies pure rock, recorded live by smiling musicians (House of Syn, September 8).
Dur et Doux consistently releases some of the strangest rock we’ve ever heard. Their seasonal highlight is Yoshitsune, the second part of a diptych from Poil, continuing the story of the titular character (November 3). The same day sees the release of the rambunctious Cinq from CHRONG!, whose styles change faster than clothes at a circus. Yes, that’s a kazoo. On November 28, the label releases ni‘s Fol Naïs, which can go from ambient to screamo in a single track; and on the earlier VOCODER‘s V.O.C.O.D.E.R., weird vocals are mangled into even more bizarre shapes (October 6).
Clearly an album about “the pilgrimage of the warlock” is going to be psych-tinged, and we recommend Child of Time and Earth to fans of the series Witcher. D’luna is a solo artist, but sounds like a full band here, with a wide repertoire (September 22). Prefer Egyptian psych? Try Elephantine‘s Moonshine, a heavily percussive affair with nine total participants, led by Maurice Louca. The double drummers are Elephantine’s not-so-secret strength, but the entire ensemble plays as one (Northern Spy, September 15). Serbia’s The Cyclist Conspiracy injects vocals and a world music vibe to its Mashallah Plan, a high-energy set that sparks an ecstatic trance (Subsound, October 13).
Folk-Tinged
In a wonderful case of international cooperation, Sweden’s sing a song fighter and the U.K.s Hive Mind are teaming up to present Congo Guitar, from Congolese guitarist Vumbi Dekula. This is the first solo album for Dekula after four decades of being a band leader (September 15). We Are Busy Bodies will release Mount Maxwell‘s Litltefolk on November 24, a “journey into memory, melody, and geography” that includes woodblock, congas, shakers and synths, producing a homespun vibe. Invoke‘s Evoke and Travel is an interesting combination of “string quartet, folk band and singer-songwriter,” alternating between instrumental and vocal tracks, with strong servings of banjo and mandolin (Sono Luminus, October 27). McCowski, half of The Lost Brothers, goes “solo” on Notes from the Boneyard, but invites guests. We don’t mind, because they bring cello, viola, pedal steel and more; you call it solo, we call it intriguing (Deltasonic, September 22).
birds in the brickwork follows the lovely Recovery with a strange piece, another beautiful photo book and disc combination, rife with pictures from the British countryside: not all nature, but the liminal places as well. The music is warm and welcoming, tailor-made for the autumnal transition (Wayside & Woodland, October 1). Then October 20, the label will release Littoral States, a richly hued album from Junkboy – two brothers in mourning who traced their father’s history down the coastline, making field recordings as they went. Inviting guests to what became a celebration, they have produced a loving tribute. There is only love and fear, proclaims Bex Burch, although we suspect there are other things as well. The album starts with footsteps and continues through a bucolic environment. A road trip, a handmade xylophone, and a host of famous friends come along for the ride, and the album unfolds like the mixtape one makes when one returns home (International Anthem, October 20).
All About That Jazz
Matthew Halsall‘s An Ever Changing View is jazz for people who normally don’t like jazz. The album offers multiple entry points, from the occasional electronic lean to unique instruments, which include mobiles of keys, triangles and bottle caps. The album offers a homespun experience, and we can see it crossing over to other audiences (Gondwana, September 8). Those who only know William Basinski through his loop-based ouevre may be caught off guard by his work in Sparkle Division: all-out retro funk with a groovy vibe. The common thread: each project travels in time. FOXY will appear October 20 on Temporary Residence Ltd., completing a triumvirate that began with Explosions in the Sky and Grails.
As no public previews are available, we’ll provide a rundown of the instruments that Hans Hulbækmo plays: “drums, percussion, objects, jew´s harp, guitar, Casio keyboard, stylophone, balafon, harmonica, flutes, shruti box, drum machine, kalimba, fiddle and two row accordion.” To learn what this sounds like, tune in to Hubro on September 22, or check out some of his other work on the label as a member of various bands. The label’s following release will be Collage, a multi-layered, semi-improvisational collaboration between Erlend Apneseth Trio & Maja S.K. Ratkje. Field recordings abound, as do incantational, fairy tale snippets of song (October 20).
Joe Acheson plays a dozen instruments on To Dream is to Forget, but he’s joined by eleven other musicians as Hidden Orchestra. Poppy Ackroyd is one of the guests, along with skylarks and bees. Hidden Orchestra splits the difference between rock, jazz, electronics and modern composition, and the album is out September 22. Inspired by Edward Munch, sextet John Ghost produces a fusion of genres, teeming with musical influences from across the sonic board. Thin Air . Mirror Land is described as “a refuge in stormy times,” an antidote to “The Scream” (Sdban Records, October 6).
Drummer Allison Miller offers jazz with a purpose: the preservation of waterways. The live edition of Rivers in Our Veins has already made an impact with tap dancers and video (Royal Potato Family, October 6). Hammered dulcimer and six-string bass make a unique combination, and by inviting friends along for the ride, House of Waters has expanded upon their already-international sound. On Becoming is out September 8 on GroundUP Music.
Swami Lateplate offers Doom Jazz II, a sequel to, well, you know. Yamaha organ plays a big part on the 15-minute single that occupies the album’s back half (Subsound, September 14). Percussionist Carlos Niño & Friends – a lot of friends – join forces on the ambient jazz/jazz fusion album (I’m Just) Chillin’, which seems to suggest a different sort of vibe. The press release lists some of the album’s moods as “On Mushrooms, On LSD, (and) On Ketamine,” none of which we recommend (International Anthem, September 15). The label follows this with Daniel Villarreal‘s Lados B, which exudes a laid-back, summer cruising style, brought to life in the video for “Sunset Cliffs” (October 3). Piano, sax and tabla meet gentle electronics in Daughter of the Seas, a languid set from Visions of Nar. The album draws heavily on Armenian mythology, and is out September 15 on Earshift Music.
The free jazz-electro collective Asynchrone pays tribute to the recently deceased Ryuichi Sakamoto on the free spirited Plastic Bamboo. The album was in the works before his passing, as proven by the A.I.-generated video for Expecting Rivers, initially released last year (Nø Førmat!, September 29). LANZ & Kris Allen dedicate their album Ballard to a longtime childhood friend, who set them on their musical path but died tragically young. The music shows no sign of sadness, instead bursting with color and life, a fitting tribute that draws upon jazz fusion and funk, with a whole lot of beats (Brassland, September 12). Belgian jazz trio KAU invites listeners to dance to The Cycle Repeats, showcasing 80s synth and a loose-limbed sense of fun. The album is out September 23 (not 22, as the band emphasizes) on Sdban.
“What does hell sound like?” asks Joseph Shabason on his newly imagined score to the classic skate film Welcome to Hell. In his hands, hell sounds like a jazz jam, with prominent saxophone, synth and snares, vibraphone and vocal harmonies, and a sense of swing. We suspect he has his afterlives backwards, but the results are funky (Western Vinyl/Telephone Explosion, October 20). Don Kapot‘s lively, sax-happy “afro-kraut” is showcased on I Love Tempo, an album that invites listeners to the dance floor. The introductory bassline of Macarona sounds a lot like that of “My Sharona,” but we suspect the similarity is as intentional as the rhyme (W.E.R.F., September 15). The famous bassline of New Order’s “Ceremony” finds new life as the title track of the album of the same name from Joe Policastro Trio, mixed with music from Erik Satie. The trio covers “Blue Bayou,” while offering originals as well (JeruJazz, October 13).
AKKU Quintet straddles the line between rock and jazz, though the label calls the influence post-punk. Kinema is at times languid, at times groovy, and assured throughout, so we’ll let the listener decide how to classify it (Morpheus, September 15). Jazz and math-rock mingle on Apnea, another genre-resistant release. The Arthur Hnatek Trio creates compositions by interpreting patterns from the Buchla synthesizer, a further extension of timbre (Bridge the Gap, September 15). Emily Wittbrodt‘s Make You Stay is a rock outlier, alternating between lyrical pieces (including one by e.e. cummings) and instrumentals, while incorporating a strong element of modern composition, highlighted by Wittbrodt’s cello (Ana Ott, September 22).
Brazilian jazz guitarist Marcio Philomena was first inspired by Green Day, then developed a love for jazz. Vava is the first single from Trails, out September 8 on Chill Tone. Funky retro jazz rockers SRT make their recorded debut with Vanguards of Groove; but will they be able to top the fame of their Bee Gees cover (Jewell Records, September 8)? Avant jazz with a 60s lean can be found on Daniel Casares’ From a Cabin in the Woods, the music unrelated to the film with a similar title. Sometimes a cabin is just a cabin (Hout Records, October 20). Some are calling Sven Wunder‘s Late Again library music, but we think it’s just some really cool stargazing jazz. “Take a Break” even has a shot at crossing over into the electronic market (Piano Piano, September 29).
Happy 20th anniversary to Kansas City Jazz Orchestra, who celebrates two decades of big band recording with an album of originals. In the Key of KC is out September 22. Sam Eastmond offers big band versions of John Zorn’s music on the elaborately-packaged The Bagatelles Volume 16, leading a dozen performers in presenting a whole new way to listen (Tzadik, September 16).
Richard Allen
Fri Sep 08 00:01:42 GMT 2023