Fall Music Preview - Ambient & Drone

A Closer Listen

When we started to receive fall music announcements early this spring, we knew something special was in the air.  By the time summer started, we already had enough for an article.  Now we have enough for five.  The brand new season is jam-packed with amazing music, and you can read all about it right here, plus previews and links!

For most of the northern hemisphere, 2018 brought the hottest and most humid conditions in recent memory.  Those with AC found themselves in an odd quandary: stay cool and drown out the sounds of peaceful music, or enjoy the tranquil tunes and sweat.  Now that the temperatures are cooling down, we can rediscover our love for ambient music; and as the nights grow longer, renew our acquaintance with drone.

Whether you’re feeling wistful about the end of summer or excited about the beginning of fall, we hope that you’ll find your personal soundtrack here.  On behalf of A Closer Listen, we wish all of our readers a happy autumn!

Thank you to Jeremy Bye for the cover photo, taken from his personal archives!

Rich’s Pick (Ambient):  bvdub ~ Drowning in Daylight (Apollo, September 14) Many artists are consistent and many are prolific, but few are both.  bvdub is among them.  Drowning in Daylight is yet another magnificent opus, a four-track excursion into seas, skies and the nature of the heart.  For those who are fast enough, it’s available as a double album on clear vinyl.  Bonus points for the remarkable cover art!

Rich’s Pick (Drone):  Tim Hecker ~ Konoyo (Kranky, September 28) One of the best albums of fall marks a return to form for one of our favorite composers.  Thanks to the participation of gaga ensemble Tokyo Gatkuso, Konoyo (The World Is Over Here) shifts fluidly between ambient and drone, offering original textures at every juncture.  Listening to lead track “This life,” one feels the same sense of excitement produced by Ben Frost’s By the Throat.

Calm, Peaceful, Tranquil, Sedate

William Basinski + Lawrence English is a match made in heaven, and Temporary Residence is the lucky label.  Selva Obscura is the most relaxing album you’ll hear all year, and if you don’t believe us, it’s already streaming in full.  There’s a bunch of purchase options, but I must say I’m really liking that grey vinyl ~ the perfect shade for a cloudy day scored by two of the world’s finest ambient artists (October 12).  Also on Temporary Residence, Janek Schaefer honors Robert Wyatt by constructing a new work from fragments of Cuckooland on What Light There Is Tells Us Nothing, along with seven other compositions (October 19).  The Dauw and Eilean labels are joining forces once again for Dialog II, a pair of albums pairing artists across the roster.  Intriguing matchups include Machinefabriek + offthesky, The Humble Bee + Josh Mason, øjeRum + The Humble Bee and more.  Look for the twin release on September 9.  Of similar appeal is a new edition of a classic Antonymes album on Fluid Audio.  The License to Interpret / Re-interpret Dreams is fully remastered, with new mixes from Christoph Berg, Olan Mill, Ian Hawgood, Ben Chatwin and more, served up in exquisitely detailed packaging (September 8).

Sarah Davachi‘s prolific year continues with the meditative Gave in Rest, inspired by the church music of choirs, organs and bells.  She began to think of such music as she performed in cathedrals, appreciating their resonances and the stillness of the times before and after her performances.  Ba Da Bing Records calls it her “masterpiece” (September 14).  piano and coffee records is one of our favorite label names; we’re still hoping they’ll make t-shirts!  In the meantime, the label is releasing Klangriket‘s 4-track solo EP Tjärn.  While it’s appropriate to find piano on the release, one will more often encounter synth, chime and other electronic textures.  The track “Björk” is surprisingly sedate and seems to have little to do with the performer (September 28).  We also like the name Seasides on Postcards, another new label now preparing its second release.  Daniela Orvin adds synth to piano to create an atmosphere worthy of the name; Home will appear on October 19.  Piano and orchestral instruments play a role in Luca Formentini‘s Scintilla, a meditation on the border between private and public.  At times, the album even borders on modern composition (October 24).  The Kasper Bjørke Quartet folds piano, cello, viola and violin into its compositions, producing a feeling of intelligent tranquility.  The Fifty Eleven Project is out October 19 on Kompakt.

A similar approach is taken by Streifenjunko, who mix soft electronics into their trumpet and sax, or the other way around.  Like Driving will be released November 2 on Sofa, preceded by a bold 16-minute track.  Fender jazz bass forms the basis of Distant Fires Burning‘s For The Love Of … The instrument is processed and manipulated until barely recognizable.  A series of remixes adds another layer to the production (Audiobulb, September 12).  Tapes and Topographies have been extremely prolific this year; Insomnia Drones is their third album of 2018.  As expected, it’s slow and measured, and makes an effective sleep aid (Simulcra, September 14).  The always reliable Students of Decay label returns with Daughters of Time, from Blue Chemise (Mark Gomes).  The album shimmers like the edge of a lake at sunrise (September 7).  Looped guitars produce a subdued sound on Leaving Shore, a quiet release from the appropriately monikered Rest You Sleeping Giant (September 1), while processed guitar lies at the heart of Wounded, from solo artist White Feather (September 2).  Mathijs Leeuwis builds Galibier around the languid sounds of pedal steel: very relaxing, like a late summer evening (November 1).  Dakota Suite, Dag Rosenqvist and Emanuele Errante have teamed up for a new collaboration.  what matters most is half vocal, half instrumental, and completely emotional.  The video “Now That You Know” is slow, lovely, and exquisitely filmed (Karaoke Kalk, September 14).

The aptly-named Serein label has become a reliable source for hand-picked, beautiful music, and the upcoming album from Max Ananyev is a perfect extension of their sound.  Water Atlas explores the nature and different forms of water, and is promoted by a gorgeous video with light voiceover, as seen below.  The lead single “Night Path and Snowfall” provides a perfect entry point (September 14).  The label’s roster continues to grow with Hibernis, the duo of John Hughes & Lindsay Anderson.  Middle of the Meds was introduced with a double-A single and interactive video last month, and the complete album will be released on October 19.

Synth

New age synth is the order of the day for Omni Gardens, a one-man act from Oakland whose purpose is to inspire meditation through the use of peaceful tones.  West Coast Escapism is out September 28 on Holodeck.  On the same label we find Future Museums‘ Rosewater Ceremony Part II: Garden of Solitude.  The album is indeed a sequel, as the title implies; the first part was released earlier this year.  If anything, this installment is even more chilled than the last (October 19).  London trio Albecq expresses a love for Brian Eno on their debut album A Distant, Guiding Sun.  This synth-based work glides slowly from piece to piece and exudes a sweet tone (September 7).  Moog mates with Space Echo on Broken Chip‘s Maybe Sometimes She Haunts, which turns out to be the artist’s first full-length work after a steady string of singles and EPs (Flaming Pines, September 12).  Ursula LeGuin collaborator Todd Barton continues the story of The Kesh on the long single track Multum in Parvo, composed using the Buchla and homemade instruments (Blue Tapes, October 5, pictured above right).  Looks can be deceiving, as is proven by the cover of Debit‘s Love Discipline. What looks to be a songstress EP is actually a “choir of synths,” creating slightly unsettling atmospheres inspired by Erich Fromm (Quiet Time, September 21).  Ipek Gorgun‘s Ecce Homo contains some rough edges, but all in the service of a higher cause.  When one hears the organ, one thinks of cathedrals, and what might be happening there apart from Sunday morning (Touch, September 7).

Ambient Electronic

Ocoeur‘s Inner is billed as less piano-based and more synth-based than prior works, but fans should not be alarmed.  The strings and pulsating electronics are intact, smoothed out to create a friction-free experience (n5MD, September 7).  The label’s following release comes from Tangent, and adds a good number of soft beats yet still manages to hold on to the ambient tag.  Approaching Complexity is out October 5.  Launchable Socks offers soothing melodies on Quiet Magic, enlisting the aid of harmonica player Tollak Ollestad for a touch of magic (September 7).  Northcape + Obfusc tackle each other’s work on the Reprojected EP (Sun Sea Sky, September 4).  Also on the border of ambient and electronic we find Inner River, whose lovely self-titled album flows from “Floe Flow” through tributaries and on to the sea (Atomnation, September 28).  And Heinali fans can look forward to a new album on October 12, when Iridescent is released on Injazero Records; the first single, “Rainbow Folding,” is gorgeous.

Experimental Ambient

René Aquarius presents the soundtrack to a series of sculptures by Ajla R. Steinvåg on the installation-based Transmutation. The primary inspiration is “the process of metal particle accumulation in the human body” (Moving Furniture, September 6).  Another multi-media project comes from Nat Evans, who releases Flyover Country on September 20.  This quiet, pensive project will coincide with a tour.  Håvard Volden uses field recordings and electricity as the baseline on some of his recordings, which sway from soothing to crinkly; Space Happy is out October 5 on SOFA.  Working with both organic and electronic elements, Jonas Kasper Jensen stretches strings to create slow, undulating drones.  According to Marcus Döller, Within the Temporal Existence is meant to “create intensification” through sound (Clang, September 28).  A new quartet of releases on Room40 also exults in the elongated.  Olivia Block‘s 132 Ranks is the audio copy of a six-channel installation featuring white noise, sine tones and organ clusters, originally playing alongside Block herself.  M Geddes Gengras‘ Light Pipe is a double-disc, two-and-a-half hour excursion that took years to write.  Layer after layer of light undulation washes across the sound field, eliminating time.  And on The Space Inside, Vanessa Tomlinson delights in exploring the possibilities of the tam-tam and solo bass drum.  Also on Room40: Julia Reidy‘s Beholder (pictured right) extends not notes but patterns, investigating the properties of repetition and gentle change.  The three female-fronted albums will be released on September 7, followed by the Gengras album on the 15th.

Dark Ambient

James Murray‘s Falling Backwards was inspired by a sharp childhood memory of the artist purposely falling backwards, again and again, as a means of expressing control.  The irony works its way into the music, which is never menacing, yet never quite at ease.  It’s a faithful read on the emotional malaise of the current era (Home Normal, September 14).  Mathieu Lamontagne studies the limitations of shelf life on the moody Obsolescence Programmée.  Fortunately, there’s a physical edition (Polar Seas, September 21, pictured right).  “Devotional awe” is the tag for the upcoming album from Ensemble Economique.  The artist was inspired to write Radiate Through You as a response to cruelty in the aftermath of loss (Denovali, September 28).  Two collaborative years are included on Drekka‘s Examinations: 2016-2018, which includes masses of field recordings, organic instruments, drone and voice, and even one track recorded at Iceland Airwaves.  It may be a somber set (especially “Call to Prayer”), but the spirit of collaboration keeps things aloft (Bluesankt, September 14).  Siavash Amini tones things down a bit on FORAS, which is more nuanced and quite a bit softer than TAR, despite periods of noise.  The music suits the topic of how sorrow is expressed through space (Hallow Ground, September 7).  On the same day the label is releasing the self-titled album from This Is Where, a trio formerly known as ANS and led by Swans’ Norman Westburg.  Attilio Novellino‘s A Conscious Effort is a decidedly dark affair, as one might guess from the x-rayed skull on the cover and titles such as “Satan Is Always Happy.”  Guests such as Witxes (electronics) and Alex Vatagin (cello) keep the music balanced on the edge of the abyss (Midira Records), October 5.  And it’s been a long time coming, but we’re finally being treated to a new Murcof album this fall.  As fans of the artist are aware, autumn is the perfect time to enjoy his music.  Lost in Time tells intertwining stories of a dark and frigid journey; the disturbing video offers a sneak peek (Glacial Movements, September 28).

Drone

Another of fall’s best albums comes from Giulio Aldinucci, building on the strength of last year’s Borders and Ruins.  Disappearing in a Mirror is an investigation of identity, personal and communal.  Replete with mulched strings and an sense of drama, the set is riveting in its cumulative power (Karlrecords, September 21, sample below).  Aldinucci is also one of the remixers on dziadosz/mreńca‘s remastered Mirage, along with Spheruleus and Sven Laux.  The EP was originally released on Taâlem and the new version is appearing on Whitelabrecs September 1.  Spring Break Tapes is preparing a treat: a double cassette album from Amulets and Bus Gas.  The tapes come with a collection of die-cut inserts that can be rearranged to form a number of different cover images (September 21, sample left).  William Fowler Collins embeds military drums and polyrhythms in the appropriately titled Field Music; part of the fun is attempting to find the buried treasure (SIGE, October 19).  High aura’d teams up with ASAMA on Oil Pourer; this will be the first release on the former’s Noble Rot Recordings (mid-September).  And MMMD has landed the score for the “medieval terror” film Hagazussa – A Heathen’s Curse.  The movie was released this past May, but the score will be out September 14 on Antifrost.

Portals Editions will be releasing a solid trio of releases this fall.  Maria Horn‘s Kontrapoetik is a fascinating response to Christian misogyny through the lens of a “satanic feminist cult.”  The drones are deadly, rife with righteous anger (October 19).  Roberto Crippa mixes noise and beats into the sonic mulch on SELENIC; and Mats Erlandsson processes and layers a cornucopia of sounds on Hypodermic Letters, producing “a sorrow beyond sorrow” (September 21).

The Skull Defekts are dead; love live Saturn and the Sun.  This new duo takes a different tactic, with four extended tracks bordering on electronic dance without crossing over to the light side.  In Love With the Extreme is an apt name for an album recorded without compromise (iDEAL, September 21).  Everything on the Cyclic Law label is dark, so it’s no surprise that A Wound of Body follows suit.  Common Eider, King Eider is already prepared for early sundowns, as the album is released on September 7.  One album track even boasts our season’s favorite title:  “We Sing Over These Bones So That They May Rise Up And Run Away Into The Night.”  Deru returns with the pensive and occasionally angry Torn in Two, an album with a powerful visual presence.  This release won’t cheer anyone up, but with some luck it may motivate them to change the world (Friends of Friends, October 19).  The Solemn- Torrid- Symbol- may be billed as ambient, but it sure sounds like drone.  On this triple album, Al Vomano evokes the power of myth, in particular the goddess myth associated with volcanos.  “Kilauea” is a particularly timely track in light of the recent eruptions on the Big Island (October 1).

Coming tomorrow:  Fall Music Preview ~ Modern Composition!

A Closer Listen

Get ready ~ we’re about to cover over 350 albums in five days!  Today is the first day of meteorological fall In the Northern Hemisphere, and the release schedule is already packed to the gills.  This week, we’ll list all the fall releases we’ve been privileged to hear.

Today we cover ambient and drone: two sides of the same coin.  If ambient music is designed to calm and soothe, drone reflects the anxieties of dark days and insomniac nights.  In the middle lies dark ambient, which exposes the ghosts and dark undercurrents of society.  The rapidly changing events of summer 2021 have created an emotional whiplash; some days we seek quietude, while other days we want to scream. Perhaps the panacea can be found below.

Room40 Takes the Field

David Toop, Akio Suzuki & Lawrence English pool their talents on Breathing Spirit Forms, a musical meditation on memory injected with a healthy amount of field recordings.  The album’s companion is English’s A Mirror Holds the Sky, a single longform piece recorded in the Amazon jungle, concluding with a powerful thunderstorm (Room40, September 3).  A week later, the label will release Megan Alice Clune‘s If You Do, an experimental suite of clarinet and voice, recorded in isolation.  Our favorite title:  “The Worst Coffee in the Best Cup” (Room40, September 10).  Also forthcoming on Room40 (and just the tip of the iceberg): Marina Rosenfeld‘s Teenage Lontano, including a pair of polychordal works performed by teenagers, finally published for the first time (October 15); Toshimaro Nakamura‘s Culvert – No-Input Mixing Board, which sounds like its title but is inspired by rivers that have turned into pathways (October 8); and Robert Takahashi Crouch‘s Jubilee, a melancholic work that reflects a long personal journey through surgery and addiction and includes a monologue about an attempted suicide (October 15).

Philip Samartzis + Eugene Ughetti are releasing a pair of interrelated works.  Array combines Antarctic field recordings with live performances, chronicling life at a remote research station. Polar Force is a CD, installation and art work that builds to a white-out event (Room40, October 15).  Over on Omnempathy, Michael Begg uses Arctic readings to compose a score representing climate change.  Light Water Is Black Water is populated with field recordings, violin, and the incremental changes of ambience, which mirror those in sea ice (October 29).

Not ready for winter?  Nikki Sheth‘s Sounds of Mmabolela is as hot as it gets, with birds, frogs, hippos, crocodiles and cicadas vying for sonic supremacy (Flaming Pines, September 3).  Francisco López returns with Hidden Island Music, which bears the ironic subtitle Untitled #398.  This dual release (Keroxen and Discrepant) contains recordings made on the isle of Tenerife (November 5). Tomoko Hojo + Rahel Kraft suggest the life of a grazing horse on Grass Eater Diary, a sound walk with field recordings and festival song, reflecting a placid, yet rewarding approach to life (LINE, September 10).

Thoughtful and Reflective

While vocal pieces appear on Peter Broderick‘s The Wind That Shakes the Bramble (yes, that’s a Joyce reference), the highlight is the amazing 22-minute title track, a shimmering instrumental piece that sounds like aural poetry.  The piece uses the blackberry plant as a symbol of resilience in tough times (Erased Tapes, September 10).  Cucina Povera‘s Dalmarnock Tapes was recorded in a snowstorm: fragments of music and shards of voice, like shattered icicles on a bed of snow (mappa, September 7).  The (mostly) lyric-free voice of IKSRE wafts across the ambience of III, a set whose peace was hard-won following a time of tragedy.  A cover of “Song To The Siren” is an early highlight (Hush Hush, October 15).  Maya Sheffield‘s In Free Fall lies across the borders of ambient and modern composition, yielding no hint of her punk roots.  Tape loops, sine wave and organic brass imitate the feel of an echo chamber (Thrill Jockey, October 22).

On notebook, jason calhoun (also known as naps) travels lowercase in name and sound.  The set reflects on time in a Trappist monastery and reaffirms the value of human connection (Dear Life, September 3).  Marv‘s Keyboard Suite I imitates the intimacy of a cave as a place to collect one’s strength.  French horn also makes an appearance (enmossed, September 3).  Perila will release two related works on Vaagner, each inspired by the isolation of the past year.  7.37/2.11 is the primary album, while the EP Memories of Log was recorded with Ulla.  The two form a comforting diptych (October 15).  Lonely trumpet is graced by hints of dub on Sleeping with my worries, recorded by Joshua Trinidad for his family as a last will and testament in case he was struck down by COVID.  Fortunately he lived, and his music does too (Subcontinental, September 10).

Comparing pandemic lockdown to sci-fi movies such as Silent Running, Memorybell offers a soft serenade in the form of Glass Garden, highlighted by a pair of quarter-hour tracks (Hidden Shoal, September 10).  Expanding the theme to include both pandemic and politics, Timothy Corpus offers his quiet reflections on MMXX. Don’t be alarmed by titles such as “Screen Time,” “Is This What Democracy Looks Like?” and “Elegy for Justice,” as this is an instrumental affair (September 10).

Pianist Midori Hirano has a lovely album slated for release next week; Soniscope is packed with texture and sports a remix (albeit not a club remix) by Robot Koch.  The album soothes as well as inspires (Dauw, September 10).  Byron Westbrook returns with the intricate architecture of Mirror Views, packing the background with more curiosities than the foreground.  The field recordings are only part of the scenery (Ash International, September 17). With ten one-word titles, Otaru‘s View seems an exercise in simplicity.  But the smudged nature of these recordings, made on battered instruments, yields a surprising depth.  As a bonus, the album is preceded by [Re]View, an EP of reinterpretations by label founder David Newman, recording as Volume Objects (Audiobulb, September 15).  An Act of Forgetting is the fourth in an ongoing series of nostalgic works from Heavy Cloud, augmented by videos, voiceovers and a generous limited edition packed with evocative ephemera (September 2, pictured below).

A long out-of-print CD3″ subscription series is getting the box set treatment this October.  Adam Piccone‘s synth and tape loop excursions from 1999-2009 have been remastered and two new tracks added for the 4-disc souvenir Any Way, Shape, or Form on Elevator Bath (October 22).  U.S. band Requiem joins forces with the U.K. artist Simon McCorry on Joy; Division, creating a sound between ambient and shoegaze, with an obvious reference to a seminal band (Woodford Halse, October 16).  Stray Theories resurfaces with the comforting This Light, folding in tones of modern composition and including alto horn.  The transparent copper LP is quite lovely (n5MD, October 8).

Eight études based on floral studies by a 19th-century French photographer?  This has to be ambient.  Blue Chemise‘s piano-based Flower Studies folds in quiet chords and occasionally distorted notes to provide a bit of an edge (B.A.A.D.M., September 24).  Zpell Hologos paints in abstract, dissonant tones; Birmania is a reflection of Brazil’s out-of-control year, in which authoritarian politics met rampant disease, and nobody won (October 4).  It’s been a while since we last heard from Students of Decay, but the label makes a triumphant return with Marja Ahti‘s intricate Still Lives, where micro-tones and magnetic tape dance between thin strokes of paint (October 7).  Lina Filipovich’s Magnificat is the latest album to receive the Time Released Sound treatment, with special limited edition packaging.  The music warps Rachmaninoff’s “All Night Vigil” into still-recognizable, but greatly altered shapes (September 3).

The concept of Physical Silence took on new meaning during the pandemic.  Cody Yantis‘ album is a reflection on The Book of Disquiet by Fernando Pessoa, as well as a response to hand-made art cards received during lockdown.  The music is soft and warm, and nearly landed in our Rock and Post-Rock category, but we think it fits better here (Round Bale Recordings, October 8).  In related fashion (although adopting a different timbre), Razen offers Blue Rot, which covers the concept of stillness through glass harmonica, harmonium, recorder and serpent (we don’t think that means a snake), and is inspired by 19th century Symbolist art (Hands In the Dark, September 24).

The mini-supergroup of Alister Fawnwoda · Suzanne Ciani · Greg Leisz coats ambience with a gentle post-rock glaze.  Night Bunny is the first taste of Milan, a smooth blend of pedal steel and synth (AKP, September 24).  While Forest Robots has some great post-rock titles (for example, The World Is Held Together by the Beauty of Humble Places and “In the Aftermath of Rain No Grain of Sand Remains Unstirred,” Horst & Graben is ambience in the Eno mold, an enveloping album on the Elm label (September 1).  Lost Rarities become found on Dionisaf‘s analogue collection, which draws inspiration from the Siberian wilderness.  On this album, the artist continues his evolution from rock guitarist to tape loop maestro (élan vital, September 1).  After a multitude of releases under other names, Greg Keller is finally releasing an album under his own.  The calming Greg Keller Music, Vol. 1 is out September 24 on Stickfigure.

Simon McCorry‘s Flow sounds like its name.  Visits to stone circles, moorlands and rivers inspired these untitled pieces, which remain in constant motion without drawing attention to themselves (See Blue Audio, September 10).  Autodealer‘s piano makes drone sound like ambient; Structured Living for Young Minds portrays a clash between light and dark, but the two end up being friends (Somewherecold, October 29).  Conversely, Caustic Reverie mixes ambient into Chamber Drones in the full-length follow-up to January’s Chamber Sketches EP, stretching orchestral chords like salt water taffy (September 3).  Husband and wife awakened souls and From Overseas fold shoegaze into the mix on Keep the Orange Sun (Past Inside the Present, September 24).  Also on September 24, Consouling Sounds will release a dark set from Insekt Art; Side B of Future Fossils is a side-long live improvisation.  Cahill/Costello offers more active ambience on Offworld, a partially improvised set inspired by the geography and people of Scotland (Gearbox, September 10).

New Age Timbres

Only someone as accomplished as Vangelis could offer a major work on box set in time for the holiday season.  In association with NASA, the composer combines samples, vocals and orchestra on Juno to Jupiter, a gorgeous suite of space exploration (Decca, September 24).  myndstream Collection Volume 1 offers responses to the question, “What does mindfulness sound like?”  Artists as diverse as Daniel Lanois and Rick Wakeman answer the call (myndstream, September 24).  The words “mystical,” “consciousness” and “peace” are bandied about in the press release for Son of Chi & Radboud Mens‘ The Transition Recordings, which gives listeners a clue of what to expect from these intricate, side-long pieces (Astral Industries, September 10).  MIDI sequencing grants JU4N‘s Enhanced Interior Landscapes a retro futuristic sheen; the album draws from new age and jazz (Holodeck, September 17).  Mark Tranmer resurrects his decade-absent GNAC moniker for a cinematic suite that reflects his prior score work.  Afternoon Frost is due October 29.  Luce Celestial makes its debut with Discepolato Nella Nuova Era, featuring synth, tape and a bit of ocarina (Artetetra, September 1).

Electronic Ambient

Devotional drone colors Antiphonals, a Mellotron, organ, piano and synth opus from Sarah Davachi.  Focusing on repetition and the use of “negative space,” the music carves out a pew for meditation (Late Music, September 10).  Drawing on ambient, electronic and modern composition, Klein is about to make a quiet splash.  Organic instruments mingle with electronic on Harmattan, out November 1 on Pentatone.  The Metamorph‘s lovely Return to Splendour is not only Werra Foxma’s first foray into vinyl, it’s presented in the rare 10″ format.  The EP was first recorded for a radio show, and early copies come with an art print (September 3).  The label will follow this with the bubbling, sparkling Nectar from Oceanographer (September 30).  There are already a lot of water sounds on “Ininland,” the first single from Brin‘s Water Sign; we expect to be inundated by October 15 (sound as language).

Ezekiel Honig‘s Falling Close to Memory is a long-distance collaboration with vocalist Trevor De Nógla, who appears on four of the tracks.  The voice is wrapped in layers of gauze, non-linear music and found sound (Anticipate Recordings, September 3).  The macro-lensed video for “In Apertures” makes a fine introduction to Luca Formentini‘s Intra-, which combines micro sound and handmade instruments to create an in-and-out-of-focus world. The spoken word sample on “Molecules” may remind some of The Orb (Subcontinental, September 7).  Famous friends can be a boon, and the Immersion duo (also pretty famous themselves) are joined by Ulrich Schnauss, Laetitia Sadler, Tarwater and Scanner on Nanocluster Vol. 1.  There’s no telling whom future volumes will include, but this is a great start (swim ~, September 4).

Ian Boddy celebrates the 100th release on the DiN label with Nevermore, a live concert for modular synthesizer.  The music was first presented at the Soundquest festival in the early days of the pandemic (October 15).  Beginning with “How We Got Into The Mess,” Luton tackles weighty questions of memory and imagination, heaven and hell: a soul-searching exercise prompted by the pandemic and preserved by isolated chapel recording sessions, with fasting and sleep deprivation.  The ironically-titled Eden breaks curfew on September 17.  If you haven’t yet tired of pandemic music, you may wish to revisit the early days of the disease with Distant Fires Burning‘s Inperspectycon Vol. 1, which recalls the panic and “crushed hope” of 2020.  The second volume may be more cheerful, but it all depends on us (Audiobulb, October 6, pictured above).

In case you’re wondering, LŪP does mean loop!  Lemond Campbell constructed his own device, which captures 10 seconds of sound that degrade slowly as they are played.  A future release on tape will give fans the opportunity to try their own hands at sound editing (One Little Independent, October 22).  Half of Martina Lussi‘s Balance was recorded pre-pandemic, the other more recently.  The full set serves as a meditation on fluctuation and equilibrium.  The album also inspires a scent by Niklaus Mettler, incorporated into the artwork (Präsens Editionen, September 3). Bon‘s visual album Pantheon is introduced by a soft and soothing video featuring Laraaji, enough to put even the most troubled soul to sleep (Spatial Awareness, September 10).  Still tossing and turning?  A pair of twenty-minute tracks with soft drums and birdsong may make the difference, thanks to Russian producer x.l.r.‘s Anciente (Possible Motive, September 3).

Venja‘s third installment of Galactic Underground is set for release on September 3.  Volume 3: Music for Astronauts continues the sci-fi excursion, offering glimpses of an alternate universe in which there is no COVID (although there are other intergalactic problems).  555 Sounds‘ audio-visual album Live from Dirtmall rolls around in glitter and beads, venturing into abstraction but looking none the worse for wear (Ingrown, September 7).  Theath Manning‘s Abstract Hymns for Theoretical Physics Vol. 2 honors its name with wandering textures and patterns (Spear Thrower Owl, September 7).  Modular synth is the order of the day on Empathy, the latest release from Joel St. Julien.  We could all use more empathy right now (October).  Not all of Frank Rabeyrolles‘ albums are instrumental, but A ghost by the sea drops the lyrics in favor of soft electronic soundscapes with an 00’s flair (Wool, September 17).

Dark Ambient and Drone

Robert Curgenven‘s Beyond Enclosures is an ambitious three-disc set for pipe organ, piano and turntables, exploring the natures of music and air.  The third disc holds a live concert from the Sydney Festival.  The set is tricky to categorize, as it has an experimental approach and takes the form of modern composition, yet has the tone of drone, which is why we’re placing it here.  The outside sounds (church bells and passing traffic) lend the project a solemn authenticity (September 17).  Another organ album this season comes from Lawrence English, who does not seem to have slept much during the pandemic (see the Room40 stable above).  Observation of Breath is about “presence, patience and the spirit of time,” and is much more meditative than the morbid cover art suggests (Hallow Ground, September 10).

It’s amazing to note that Daemonum & Daemoniacum marks the thirtieth anniversary of Peter Andersson’s raison d’être project.  An untold volume of dark ambience can be traced back to the work of this influential composer, who remains as inspired as ever.  The album and bonus album celebrate the “inner genius” or daemon.  There’s also a single-disc edition available, but why deny one’s self the full experience? (Cyclic Law, September 17).

April Larson returns with the moody Heretical Wrekollections this fall; her singles collection contained 62 tracks, but we’re confident this one will be shorter (Not Yet Remembered, October 8).  The new Veins Full of Static album contains some great titles: “A Home for Scared People,” “She Held Onto Me Like One of Us Was Sinking.”  The music follows suit, with timbres of slow descent (Past Inside the Present, September).  With a title like Death Mycelium, it’s clear that Caldon Glover‘s album arrives in the dark ambient vein.  A Coil influence is present and acknowledged (September 20).  Abiura‘s Hauntology is a single half-hour track broken into six parts: a guitar work that references the rise and fall of the capitalistic state (Moment of Collapse, September 10).  We think Negative Libra is more ambient than drone, but since the artist is called Droneroom, we figured it was safer to place his music here (Somewherecold, October 1).  With tracks such as “Don’t Eat the Spines of Your Dead Relatives,” Adderall Canyonly is definitely getting ready for Halloween.  Stand Alone and Burn is filled with guitar squall, dark drone and synth destruction (Opal Tapes, September 3).

The Obscure & Terrible label returns this Friday with a pair of darkly appealing curiosities.  The first Orgone Donor show was a victim of the pandemic, originally scheduled for March 13, 2020 at the opening of a paranormal museum.  The band then stayed together and recorded Two Maps as Parallel Mirrors, a set of saxophone drone accompanied by piano and synth.  RN White (Rachel N LeBlanc) started her career as a funeral director during the pandemic, and recorded Cerebral Split as a response to mental health issues.  The result is harrowing, a maelstrom of noise.

Concussed dedicates Precipices of the Void to victims of the pandemic.  The sci-fi tone remains down-to-earth, as the album closes with “Grey at the End of the Tunnel” (Somewherecold, October 8).  William Selman‘s Saccades is dark ambient with an experimental bent.  The three quarter-hour pieces explore the dichotomies of active v. passive and nature v. the machine (Critique of Everyday Life, September 10).  In two long tracks, “Fog” and “Lighthouse,” en creux presents an exercise in “illusory drone.”  The Water mimics its titles as the timbres of one track cut through those of the other (Hard Return, September 1).  While it’s hard to tell from the foreboding single “Dead Ahead,” Sone Institute‘s After the Glitter Before the Decay seems brighter than prior works, the hauntology toned down for softer, guitar-based textures (Mystery Bridge, September 6).

Arigto‘s dark and moody Pretense continues the filmic sensibility of the duo’s Persona, released earlier this year.  The cello stalks the listener down a dark alley, while the drones descend like a fog (late September).  Cello also features strongly in Poltrock & de Roover‘s Vacuum, composed for choreography and quadraphonic sound.  Spectators (and listeners) are led to “a field of constantly shifting tension” (Consouling Sounds, September 17).  Harmonium and violin color “Lockdown” with layers of drone; it’s the first single from Catherine Graindorge‘s striking Eldorado, which bears political motifs yet ends with a tribute to Eno (Glitterbeat, October 1).  Contrabassoon, snare drum, drum machine and synth share space on Thomas Stone‘s HOST, a work in five parts, recorded live, and finally set to be played live once more (September 15).

Bedroom Community’s winning streak continues with the debut album from Heliochrysum.  The mixing and mastering of Ben Frost and Valgeir Sigurdsson complement to the music and underline the fact that We Become Mist straddles the worlds of modern composition and drone (September 3).  By recording in the “post-industrial sites” of Chicago, Norman W. Long has produced an outlier in the Hausu Mountain catalog.  Drones and field recordings are melded to a live performance on Black Brown Gray Green and plunge home listeners into the heart of dilapidation (September 10).  Black metal, thick and twisted, snakes through Paradiso Infernal, a self-titled collaboration between CHRA (Christina Nemec) and Christian Schachinger (TROST, September 10).

Saffronkeira + Siavash Amini join forces on The Faded Orbit, a dialogue between nations and sonic approaches.  The sound lies as thick as mist (Denovali, September 24).  On the same day, the label re-introduces a familiar name under a new moniker, as The Lovecraft Sextet takes up where The Kilimanjaro Doomjazz Ensemble left off, albeit with a touch more melancholy.  In Memorium sounds like a funeral, with a particularly astute, wordless eulogy.  Kinematik’s Anthony Sahyoun appears as himself with the mournfully modern Proof by Infinite Descent, co-released by Beacon Sound and Ruptured, the opening of the Corrosion series.  Amulets and Sary Moussa contribute remixes (September 17).

New n5MD signee Idlefon makes a big splash with the title track from Coldstream, which begins in a trickle and ends in a torrent.  The full album will be released November 5.  Also on n5MD:  the long-delayed but well-titled From Stasis, by label frontman Mike Cadoo recording as Dryft (October 22).  Fragments of Yearning is the debut album from Arash Akbari, who is now the third Iranian artist on Karlrecords.  The melancholic music is a reminder that life may be ephemeral, but matter is eternal (September 15, album art pictured at top of this article).  David Lee Myers‘ Reduced to a Geometrical Point leaves out the ending of the phrase (“before God”), but offers a framework for understanding scale, especially when it comes to our place in the universe.  How important are we, really? (Crónica, September 21).

Room40 has really expanded its tonal palette.  In addition to the ambient works and field recordings above (and an experimental album that we’ll get to in a couple days), the fall roster contains a gloomy album from Nasturtium (Geneva Skeen and Erin Dawson).  Please Us draws on the darkness of the past year, welding emotional disturbance and doom metal, but it’s not without glimmers of light (September 24).  Similarly droneworthy is HEXA‘s dense Material Interstices, in which Lawrence English and Jamie Stewart explore the byproducts of human industrial noise as it relates to disruption and dreams (Room40, October 15).  And for those who prefer the assault of noise, Merzbow returns (he’s never far away) with the caustic Flare Blues, as far away from the blues genre as one can imagine (Room40, October 8).

Richard Allen

A Closer Listen

Meteorological fall begins today, bringing with it a plethora of emotions.  Whether one dreads the end of summer or yearns for the launch of fall, the season will yield an incredible crop of music.  Hundreds of instrumental and experimental albums have already been announced, while some are still under embargo. Over the course of the week, we’ll share as much as we are allowed; in time, the complete harvest will be brought to market.  In many regions, the leaves are still green and the beaches are still open; in others, the nights are already cold.  Wherever you may live, we hope that this year’s preview raises your anticipation for the new season and gives you something to look forward to.  Happy meteorological fall to all of our readers!

Our cover image is taken from Rosie Turton & Miryam Solomon‘s maar, covered below.

Room40 is not just ambient and drone, but we’re listing all of the early fall releases here to keep things tidy.  September starts with Celer‘s Gems V, relaying the sound and feel of long passageways and chambers (September 5).  Room40’s fearless leader Lawrence English revisits Antarctic recordings on WhiteOut, which is not out of season because the Australian winter is also the Northern Hemisphere’s summer (September 12).  Next comes a reissue of Ben Frost‘s 2005 classic Steelwound, which has aged surprisingly well (September 19). Spyros Polychronopoulos + Yorgos Dimitriadis combine percussion and electronics on the impressionistic Nearfield, a ritualistic collaboration (September 26).  Sergio Merce applies processing to microtonal sax, emphasizing silence and space on the pensive Archipiélago (October 3).  Ellen Pullman and the Living Earth Show use 136 strings to make an impression on Elemental View, which began life as an installation and can now be enjoyed at home (October 10).  Zane Trow‘s Ibis is a tribute not only to the creature, but to the endangered lands it inhabits; field recordings are subtly woven into electronics, or the other way around (October 17).  Faith Coloccia + Daniel Menche combine talents on the field recording driven Smelter, which includes organ, voice and amusing liner notes.  The album covers water in all its permutations (October 24).  Mike Majkowski uses the analogy of the bay to present Tide, a single work in two halves, like the shifting of the seas (October 24).  On Halloween, Alister Spence releases Within Without, subtle but not scary, showcasing the Fender Rhodes.

Five albums will be released this week on Shimmering Moods, and there’s also a bundle deal for those who wish to collect them all!  Milam Wisp‘s Moirés layers synth and samples to create pleasing patterns; World’s Museum offers Bizenteo, which folds field recordings and toys into synth excursions.  Ludovico Franco‘s How a City is Made begins with field recordings from a construction site, which are then shaped and molded, creating a second form of construction.  Bikini Party‘s Dead Calm Tapes is a “solitary narrative,” the epitome of a desert island disc.  First released digitally by Whitelabrecs, Philip Buckle & Martijn Pieck‘s A Storm Is Any Disturbed State Of An Environment is given a physical release, rife with FM, field recordings and white noise.

Utilizing a wide array of sources, including voice, reel-to-reel and taiko drums, Lea Bertucci presents The Oracle, a reflection on the current climate and a bold sonic evolution (Cibachrome, October 17).  Prolific artist and father of a family of labels, zakè presents Silentium, a 22-track set of collaborations stemming from a call to submit samples and snippets.  From pipe organ to field recording, William Basinski to Drum & Lace, the music pulsates with life, and benefits the Children’s Music Fund (Zakè Drone Recordings, September 10).

Rosie Turton & Miryam Solomon began improvising at the end of a recording session, and their alchemy continued as they recorded maar, an engaging set of undulating modular synthesizer, trombone and voice (September 12).  Subtle synthesizer meets “a trio of horns” on Odu: Vibration II, a new album from Chris Williams that includes guest appearances from Kalia Vandever and Patrick Shiroishi (AKP Recordings, September 26, pictured right).

Flowers Made of Light is the first solo album from Ben Holton of Epic45, although he does invite Jim Sutton on fretless bass.  Written in the final months of his father’s life, the album is both tribute and celebration, ending on a hopeful note (Wayside & Woodland, September 29).  They Still Sing Songs About You is an intimate tribute to a friend who has passed on.  Many Pretty Blooms uses cell phone recordings and guitar to record a sonic scrapbook (It’s Only Me, October 24). Richard Hronský‘s Pohreb (The Funeral) makes fine use of field recordings in a project that brings the past to life.  The album is a tribute to those gone by, music and memories mixing in a miasma of sound (mappa, September 2).

Arvin Dola turns O Ghost into a meditation on grief, remembering a lost father and dog.  The music has a spiritual quality, akin to that of Hammock (Dragon’s Eye, September 19).  Four releases plus bonus tracks are compiled on Luca Formenti‘s I Am Ghosts, a double LP befitting the scope and quality of the project (Curious Music, October 10).

Poetry and voice are featured strongly on Marta Forsberg‘s Archeology of Intimacy, which includes a host of guest stars and a placid autumn video starring the artist and an endearing canine companion (Warm Winters Ltd., September 15).  Voice, saxophone, and string loop decorate Two Lonely Space Pilots, which at times sounds incredibly sad, reflecting its title.  Hekura‘s album is out on Hegoa – easy to confuse! (October 3).  The Portraits GRM split series returns with Jana Irmert & 7038634357‘s Portals/Rope, two pieces for acousmonium.  We wonder what would happen if we were to call that number (October 3).

Some of the best track titles of the year appear on Dylan Henner‘s Star Dream FM, which like its title sounds like a hazy dream from summers lost gone, beamed through a lost transistor radio (Phantom Limb, October 17).  It’s interesting to hear the term dyschronometria applied to music, as it refers to a condition in which people literally lose track of time.  Melted Form‘s album attempts to replicate the condition in its listeners, the caveat being that it has an end point (September 5).  Also concentrating on “the looping nature of time,” Daniel G. Hermann offers Versailles, an extremely quiet album punctuated by field recordings that melt into the synth (September 26).  Light field recordings can also be heard on mmrycycls‘ the humans are gone, mostly, a contemplative release that makes us wonder if this may be just what the planet needs (out today).  David Aimone scores the Changes of the seasons with guitar, electronics, and field recordings, ending in a gorgeous shower (Passed Recordings, October 10).

If Duvet sounds restorative, it’s because Ida Urd & Ingri Høyland retreated to a Danish sommerhus in the heart of winter to record these windswept collaborations, which sound like soft blankets drawn over wooden beds (Balmat, September 12).  Rhian Sheehan returns in a more ambient mood than usual on Traces, recorded with Arli Liberman.  One can still detect faint hints of post-rock, but the overall tone is relaxing.  Victor Hugo also makes an appearance! (Loop Recordings Aot(ear)oa, September 12).

Built for “meditation, sleep and spa days,” Lightwerx Collective‘s A Peaceful Place lives up to its title, and is one of the season’s most soothing releases (Friends of Friends, October 17, pictured right).  Dedicated to Ryuichi Sakamoto, Christopher Willits‘ New Moon sets peaceful guitar over waves, with occasional vocals by Alison Jones (Ghostly International, October 10).  A freeform style of music evolves into “a wavy, organic structure” on funcionário‘s horizonte, an album whose very title suggests both the horizon and lying horizontally (Holuzam, October 13).  user_ambiguous‘ The Threshold is released on the beautifully titled tiny Green Ladybird imprint (we love the small t!), and the EP is as calming as can be (September 5).

The pastoral folk of Ann Annie (Eli Goldberg) is on full display on el prado, a nature-filled album that includes acoustic odes to field and meadow, river and ocean (Nettwerk, October 3). The Irish strung harp is the secret weapon on Throwing Shapes‘ debut album, which teeters on the edges of folk and jazz (WRWTFWW, September 5).  Experimental jazz trio Flur lands in our ambient article thanks to the luscious harp, joined by saxophone and percussion.  The trio takes the Plunge on September 5 (Latency).  Coincidentally, there’s also a new album from Flaer, whose cello and piano decorate the recordings of Translations, which include birdsong and his mother’s voice (Odda, September 12).  The birds are also singing in Wetland Interiors, in which Early Fern produces tributes to herons, catfish and other residents of the local ecosystem (sound as language, September 26).

In the mood for some ambient country?  Wonderful Aspiration of the Source (Michael Hix of Nashville Ambient Ensemble) has you covered.  The self-titled album ambles across the prairie, low-slung guitar and canteen in tow (Centripetal Force, September 19).  Pedal steel contributes a languid feel to in a fugue state, while the tape manipulation plays with the sense of time.  Joe Harvey-Whyte & Paul Cousins‘ album began as a two-hour improvisation, carefully honed for maximum impact (None More, October 17).  Even amid arid landscapes there are sounds of life.  The self-titled album from Noah Franche-Nolan and Dan Pitt crackles and glows, expressing itself in increments, yielding a slightly jazzy, electro-acoustic flavor (September 19).

Drone meets field recordings on Quartz Sand‘s Stratigraphy, which combines the talents and disciplines of Kate Carr and Cath Roberts (Flaming Pines, October 17).  Field Recordings from Other Constellations is not a field recording album, but an imaginative exploration into possible sounds beamed from beyond our world. Isambard Khroustaliov / Ben Carey use a wide array of electronic instruments to create a set like a lost sci-fi score (Not Applicable, September 12).  Naming each track after a star or constellation, Lorenz Weber complies Constellations of Existence, a quiet piano album that sings of the evening sky (released today).

What time is it?  It’s Cloud Time, the vinyl available in cloudy and foggy white variants.  Emily A. Sprague uses the space to create amorphous improvisations, while drift and pull apart like well, you know (RVNG Intl., October 10).  Also on RVNG Intl., M. Sage unveils Tender/Wading, which includes odes to weeds, fields, gardens and grass, all within a single patch of land (September 26).  M. Sage also appears on “just,” the lead single from claire rousay‘s finely textured a little death, a crunchy album inspired by dusk, in which sonic snippets take the place of crickets and owls (Thrill Jockey, October 31).  SOHN tackles the other side of the day on Albadas (Dawn Songs), which sways between ambient and drone like the colors of the changing sky (APM, October 10).

Hallow Ground has three releases already lined up for fall.  Raphael Loher‘s hug of gravity is a sequel of sorts, using prepared piano and tape machine to investigate earlier sonorities (October 17).  Martina Berther/Philipp Schlotter‘s Silence Will Never Die is improvised and dronelike, an undulating wall of sound (October 17), while DarkSonicTales‘ »UnKnown« bleeds dark ambience, and would make a perfect score to a haunted castle.  The last piece is comprised of recordings made inside a manhole after a storm (September 19).  Adventurous Music offers Stilleben, a 56-page art book and digital album from Trond & Eiko.  All is quiet, but not all is still, as evident on early single “klar, ferdig, ACTION!” (September 3).  Also on the same label, released the very next day is a 388 page magazine and 365 track digital album from Aidan Baker, who chronicles A Year in Minutes in music, photography and prose.

Danek Lipko plays multiple instruments on the calming Eclipsoid, but leaves room for guest stars on trumpet, trombone and sax.  Light electronic beats provide the underpinning (Somewherecold, September 24).  Seth Thorn‘s “foggy textures” meet forlorn violin and supple beats on a curious doubling of terms, which combines the organic and the electronic, reflecting the liminal spaces between forest and the city (Audiobulb, September 6).  Also on Audiobulb, Umlaut returns with Musique de Film III, the continuation of a popular series (October 11).  Lomond Campbell‘s EP Transmission Loss is built around the sound of the composer’s heartbeat and preceded by the single Always Awake (One Little Independent, October 10).  Billed as “music for space,” Simon Pomery‘s Skin String Sine is a meditation for strings and voice, specifically created to be played on club systems (The Tapeworm, September 19).

Oscillations of Memory is the first album in Kjetil Husebø‘s Interiors trilogy, released in three consecutive months beginning September 5.  The meditations ebb and flow, the outer dialogue promoting the inner.  Unseen Topographies and Ontology of Silence follow.  Radx (X.Y.R. and Vlad Dobrovolski) use 80s and 90s synth to create “ambient adjacent” music.  On Reverse Acceleration of Dragons, they also share their love for the fantasy genre (12th Isle, September 22).  The Editions Polyhymnia imprint relaunches with Variable Apesar Vol. 1, collecting four years of compositions from label founder f0ment (October 17).  ØjeRum‘s Ensomheden Vi Deler (The Loneliness We Share) is the latest art/album offering from IIKKI, pairing a book of the artist’s collages with matching musical meditations (September 29).

Marc-Antoine Barbier develops “soundscape ecologies” on Musée Des Espèces, a synth-led album of varying moods (October 3).  Jaan calls Baghali “discreet music,” made for the market place, but with influences ranging from spaghetti western to “Cat People” (World of Echo, October 3).  What if one set up a modular synthesizer by a river instead of an easel?  John Thayer adopts this approach on Winds Gate, dedicated to the New York landmark (Aural Canyon, October 31).  In an adjacent fashion, artist and filmmaker Birney-Willen create their own Landscapes out of synth, turning them into soundscapes; each track title sounds like a photograph (September 26).

Glacial Movements revels in cold, dark ambience, and Drømme I Langsomt Stof  (Dreams in Slow Matter) is no exception.  øjeRum‘s patient album begins with recordings of ice on a frozen lake, and expands slowly outward like cracks beneath the surface (September 19).  Mesmerine 111 is one disc instrumental, one disc vocal, the brainchild (pun intended) of Illustrious (Martyne Ware & Charles Stooke).  The album seeks to induce a trance, inspired by research into MRI scans (Cold Spring, September 5).  Closely related is Ilpo Väisänen & Dirk Dresselhaus feat. Ulrich Krieger‘s Brainwave Music Vol. III, a live recording that was originally part of an installation involving brain interfaces (I Shall Sing Until My Land Is Free, October 3).  Haana Lee‘s textures is “an invitation to somatic listening,” in which the quietest moments are invited to blend into the acoustic environment.  The keyboards vibrate in a manner that suggest brainwaves (October 14).

Malcolm Pardon of Roll the Dice continues his nocturnal explorations on Flesh & Bones, focusing on background noises and bringing them to the fore.  Appropriately released on The New Black, the album arrives October 3.  The “in-between realm” is investigated on Mirror at Night, whose timbres suggest the midnight hour; Eric Angelo Bessel‘s album is released on Halloween (Lore City Music).  The cover of Shall Remain Nameless‘ Oh, I didn’t know it was you! recalls the more sinister aspects of Squid Game, with each track named “Mask” and numbered I-IX.  The music follows suit, dour and oppressive (September 5).  Crónica’s fall slate begins with Terranus, whose self-titled tracks are also labeled I-IX.  David Lee Myers‘ album is called “space music,” but is more Aliens than Star Trek (September 2).  On October 14, the label releases Emiter‘s Electromagnetism of the City, which traces the circuits and transistors of an urban environment and combines them with an occasional pulse or clock.  Boreal Path offers Boreal Covenant, which began as part of the performance series “Sounds from the Black Hole.”  The sounds are dark and dissonant, with a sci-fi tinge (Personal Archives, September 12).

Recorded in 2008, Gnaw Their Tongues‘s The Genesis of Light is finally surfacing in a newly-mastered version featuring additional guitars and drones.  This is the album as it was always intended to be (Consouling Sounds, September 12).  Ø (Mika Vainio) passed away in 2017, but left behind a body of unfinished music.  Following the composer’s notes, Rikke Lundgreen and Tommi Grönlund now offer Sysvalo, a loving testament (Sähkö, September 15). Kirin McElwain‘s debut album Youth blends cello, halldorophone and synth, creating dark drones from disparate sources (AKP Recordings, October 10).  Paul Jebanasam returns on December 2 – our farthest-out announcement – with mātr, expansive drones soaked in tones of modern composition (Subtext).

Putting a black cat on the cover seems appropriate for October; Orphax‘s Embraced Imperfections merges two live performances that were initially presented online due to COVID restrictions (October 17).  U‘s video for Black Vaughan is as mysterious as the background of the composer, whose sonic collages delve into witchcraft and folklore, with a strong visual presence and classic soundtrack vibe.  ARCHENFIELD is released October 10 on Lex. Sheets of noise wash over Beckton Alps2‘s Side like an electronic storm.  Inspired by a landfill that became a mountain, the noise-based release may indeed include the kitchen sink (Machine Records, November 7).  Symphony of a Radical II arrives eight years after the initial project, and sounds even more disillusioned.  The album addresses the political climate in America after a certain election and now re-election.  Inadvertently, The Corrupting Sea becomes the perfect moniker for such a project (Somewherecold, October 4).

Richard Allen