The latest installment of Matana Roberts’ Coin Coin series shifts the narrative down a drone-laden, cluttered pathway.
Zs’ latest album shows the band taking a more stripped back approach to their hypnotically repetitive approach to experimental rock, jazz, and drone.
With Sauna, Mount Eerie figurehead Phil Elverum continues in the drone-y, ambient direction he was headed in on 2012′s Clear Moon.
“Popeth” means “everything” in Welsh. It’s also the name of the latest collaborative full-length from enlightened noisesmiths Aaron Dilloway and Jason Lescalleet, properly following up their 2012 team-up Grapes and Snakes. Above, find Popeth centerpiece “Western Nest,” whose masterful bonding of lulling electronic pulses and high frequencies suggests a peak of unity between the two artists. Truly, the entire project lives up to its name - it is in essence the culmination of Dilloway and Lescalleet’s combined efforts in sonic manipulation and the creation of a holistic soundscape up to this point.
Popeth is out now via Glistening Examples.
Dirty Beaches has been laid to rest, but Alex Zhang Hungtai remains a wanderer. In the statement that accompanies swansong Stateless, he comments on the transitory and unpredictable nature of life and prompts us to “brace ourselves for the ever changing tides of time.” Above, find the profoundly affective audio-visual representation of this rather melancholy existential mindset. Godspeed to us all as we wander through this life!
Stateless is out now via Zoo Music.
Jason Lescalleet is coming forward as a proponent for the virtue of instant gratification with monthly/quarterly subscription series This Is What I Do (deets on his Glistening Examples website).
In an interview with Tiny Mix Tapes, the musique concrète virtuoso touched down on the value of immediacy in music: “Part of this project’s value comes from the immediacy of the material… Immediacy means that I won’t have time to over think anything. Raw. Pure. Also, timely, current, now. A glimpse into my state of mind on a real time basis. Keeping it real.”
You might recall Lescalleet teaming up with Kevin Drumm to suck listeners into an inescapable void of emptiness and beauty earlier this year with The Abyss. If that’s not real, I don’t know what is. Help Lescalleet keep it real – check out last month’s This Is What I Do above and if it’s your bag, consider following the series as it makes its way into the new year. Enjoy!
Black To Comm is the experimental music project of sonic adventurer Marc Richter. Since the mid-00s, Marc’s been dropping loads of albums, splits, and even he even released a Scott Walker-esque video installation soundtrack back in 2012. However, Richter is bringing the project back to its roots on this new self-titled release, venturing through the sounds of ambient music, drone, and tape music as well.
The soundscapes on this album are dense, creative, and difficult to penetrate. Some are more minimal or abrasive than others, but all are simultaneously beautiful and intriguing.
Last month, Alex Zhang Hungtai announced the laying to rest of his long-running and acclaimed no-wave singer-songwriter alias Dirty Beaches. The recently released Stateless was packed with gorgeous drones and was thankfully an elegant end for the project.
There was a silver lining to this news: Hungtai announced that new music under different handles would be coming as soon as 2015. Lo and behold, he has already delivered over 20 minutes of music under the pseudonym Last Lizard. The 18-minute-long “Dickie’s Theme” and the below 4 minute excerpt from “Detroit” are billed as “tenor sax and tape experiments,” in a similar vein as some of the material on Stateless. Try to imagine The Disintegration Loops constructed only out of layered tenor sax sounds – if you can, then you ought to have a good idea of what you’re in for.
R.I.P. Dirty Beaches. Long live Last Lizard!
Some strange and relaxing drone and experimental music on this new Wilting Sun album here. While Wilting Sun is careful not to step into anything too accessible, there’s quite a bit of variety on the six tracks here. Some tracks, like the intro here, deliver a mind-numbing drone, but manage to maintain an unsettling atmosphere pregnant with tension. Other moments sound like they’re pulled straight out of the Tim Hecker or Boards of Canada playbook, combining beautifully haunting melodies with soul-crushing noise and fuzz . As the name implies, the music of Wilting Sun is apocalyptic, desolate, and an ideal soundtrack for the end times.