The Original New Music Community
Canyons compilation
Sequenza 21 friend Nick Norton has speedily put together a digital compilation called “Canyons” to benefit LA firefighters. It is a loaded setlist, with contributions from India Galley, Dustin Wong, Molly Pease, Isaac Schankler, Nicholas Deyoe, Warp Trio, and more. The release is pay what you like on Bandcamp (embed below), but don’t be stingy; the firefighters can use all the help they can get.
Duo Bruno Bavota and Chantal Acda have released a teaser track from their forthcoming album, “A Closer Distance” (Temporary Residence). The recording is out on October 7th. In the meantime, one can revel in Acda’s gentle singing of short phrases and keening overdubs alongside Bavota’s post-minimal arpeggiations. They are a well-suited musical pair.
Sam Gendel’s next LP, blueblue, is out on October 14th via Leaving Records. Today, Leaving has released the album’s first single, Uroko (鱗, fish scales), as a stream. Have a listen to the post-jazz goodness below.
The Dream Syndicate release the album “Ultraviolet Battle Hymns and True Confessions” on Fire (June 10th). The group has dropped a teaser track, “Every Time You Come Around:” see the embed below.
On October 25th, Constellation Records will release Entanglement, the second solo release by Jessica Moss. A violinist and vocalist who is one of the central members of Thee Silver Mt. Zion Memorial Orchestra and co-founder of Black Ox Orchestar, Moss draws upon a prodigious range of influences: from the post-rock and avant-klezmer of the aforementioned groups, to drones and loops reminiscent of post-minimalism. Over the past year, she has honed the material of Entanglement at over eighty concerts, developing a side-long piece, “Particles,” and a suite of four “Fractals.” Impassioned, moody, and slow-burning, her compositions are some of the most compelling fare we have to anticipate this Fall.
Mikel Rouse’s Metronome project has been in heavy rotation around these parts. His latest album, Take Down, had a five-year long gestation. Given the varied reference points, one can hear why. Two parts sci-fi electronica, one part postmodern amalgam (including field recordings), topped off with Rouse’s surefire vocals: most worthy of investigation.