Record Roundup: Autumn Flood, Pt. 2

Continuing on from Part 1, here are some more sips from the firehose of recent releases. The playlist has been updated and can be found here or below. And there will be a Part 3!

Olivia De Prato - I, A.M. - Artist Mother Project: New Works For Violin And Electronics In 2018, I called De Prato's debut, Streya, "an object lesson in how to put together a solo violin record" and also noted "the electro-acoustic wonders" that lay within it when I included it on my 100 best albums of the 2010s. So it was with great expectations that I clicked Play on this latest collection, which includes world-premiere recordings of works composed in the last couple of years by Natacha Diels, Katherine Young, Ha-Yang Kim, Pamela Stickney, Jen Baker, and Zosha Di Castri. I was especially excited to hear that last piece, as Di Castri's portrait album, Tachitipo, was also on my top 100. The Dream Feed opens with an electronic splash, almost a shattering of the sonic plane, that leads into pensive lines from De Prato's violin. Gradually, a piano enters and the music becomes lush and almost romantic, before building to a tangled density that is breathtaking. Created in collaboration by the two musicians, with Di Castri improvising to De Prato's violin, it has the feel of a settled piece even though it could be different every time they play it. The Dream Feed also reflects the theme of the album - the challenges of embracing the role of artist and mother - by including field recording of sonograms and the "whimpers of sleeping babies" among the electronic underpinnings. 

Emblematic of the album as a whole, there's an almost cybernetic relationship between the acoustic and synthetic sounds in The Dream Feed, an even deeper blend than that found on Streya. Noch Unbenannt, a collaboration with composer and Theremin virtuoso Pamela Stickney, is another great example of that, with the electronics and violin combining in seamless and captivating fashion. Fire In The Dark by Jen Baker, pushes De Prato into an almost spectral realm with whispery and scratchy sounds building to a soaring drone, while Kim's May You Dream Of Rainbows In Magical Lands transits from a somber, multi-tracked opening to a starlit world. The album opens with Automatic Writing Mumbles Of The Late Hour by Diels, a brief and playful electro-fantasia, and Mycorrhiza by Young, as knotty and expansive as the underground fungi to which the title pays tribute. With I, A.M., De Prato further secures her status as one of the most thoughtful, exciting, and adventurous musicians we have.

Narducci - Darkness To Light Over the course of three EPs, with the last being 2020's Journey To Los Angeles, Matt Silberman (who records as Narducci) has been building a repertoire of evocative, jazz-infused electronic music. He has also scored films, skills which he draws on here, orchestrating sounds and dynamics with the flow of narrative. Martial Meditations has some of the rainswept moodiness of Vangelis' Blade Runner score, which is only amplified by the Japanese vocals, while Boards Break would make a great TV theme song, with a haunting sax refrain, a touch of chamber music, and a muscular rhythm track. Silberman may release music at a slow drip, but each installment has been well worth the wait.

Aoife Nessa Frances - Protector Her debut, Land Of No Junction, was a dreamy drift of an album that I leaned on throughout the dislocations of 2020. The follow-up finds her adding a little more definition to the sound, especially the percussion, while also adding lush layers of instrumentation, including harp, strings, and brass. As on the earlier album, Brendans Jenkinson and Doherty provide much of the backing alongside Frances' guitar, keyboard, percussion, and drum machine. Cian Nugent, who produced and played on the debut is missing in action, which could explain the sharper sound. The songs, however, remain elliptical and hypnotic psych-folk-chamber vignettes with melodies that transport and enthrall. Her voice, serene and clear, sails over it all with a distance that sounds like wisdom, as in Only Child when she sings, "All my love/Won’t be enough this time/All your love/Can’t be enough this time," while the strings and guitar push to a near crescendo out of the Velvet Underground. Marvelous stuff.

Nev Cottee - Madrid While Cottee is continuing the fascination with moody, cinematic folk-rock that he displayed so gloriously on 2017's Broken Flowers, there's an added focus to this latest, as if he's absorbed more songwriting lessons from his heroes (primarily Lee Hazlewood and Scott Walker) that makes each track instantly indelible. Tempos have also occasionally increased, with the title track a nearly explosive instrumental, and Johnny Ray's spaghetti western update moving at a true gallop. That latter song also displays Cottee's deft toggle between wit and mystery, describing a "Leather clad stranger/God's lonely man/A modern day Lone Ranger," who "Spends his days lost in time/got no reason, got no rhyme/Hang around, he'll undo your mind." The tale ends in chilling fashion: "Then one day, Johnny/With zero resistance/disappeared from this world/Left his existence." My mind is both undone and deeply desirous of seeing that movie! He and his main collaborator Mason Neely weave backgrounds of sounds curated with the exquisite specificity of Jonathan Wilson, with bass tones and drum sounds perfectly placed in the soundscape. Could be Cottee's most impressive album yet - I know I'm addicted.

Rachael Dadd - Kaleidoscope Untangling some of the knots which made her last album, Flux, occasionally off-putting has Dadd surrounding her gentle incantations with warmth - strings, reeds, vibraphone, piano - and the results aim straight for the heart. That directness was deliberate, as she describes Kaleidoscope as being "a lot more honest and personal" than the earlier work and an effort to help people "feel held and find space to breathe, grieve and celebrate." Mission accomplished.

Bonny Light Horseman - Rolling Golden Holy The first album by the trio of Anais Mitchell, Eric D. Johnson, and Josh Kaufman was a masterful setting of traditional songs, some of them quite ancient ,and one of the miracles of 2020. Now, they have taken that deep dive into folk form to create ten (eleven, if you buy the vinyl) collectively written songs, all of them steeped in a timeless halcyon. Timeless, but far removed from our high-tech world, as made clear by lyrics like "I'll be a river and a-roving hie/And I'll be your lover when the moon is high/Above the timbers where the wolves, they call" from Gone By Fall, or "And I was merely cannon fodder/In the nineteenth cavalry/Waiting, waiting, waiting/To sing, "Nearer, My God, to Thee"" from Someone To Weep Over Me. In this way, their project is a little like that of The Band's, although the sound is quite different, more acoustic, with none of the nods to funk and soul of that legendary band. Even so, as they maintain the delicacy of the first album, there are some sharper dynamics here, with Kaufman even letting in a little of the explosive riffing anyone whose seen him on stage knows is in his guitar-slinging quiver. Most of all, what comes through is the sound of friends making the music they love. Bonny Light Horseman is a real band, then, and one of our best.

Frankie Cosmos - Inner World Peace In 2016, I declared myself charmed by the "tunefully awkward pop" of this band led by songwriter Greta Kline. Then, it seems, I promptly forgot about them, ignoring releases from 2018 and 2019 - which may be why I'm so blown away by the leap forward they make here, with Alex Bailey (guitar/bass), Lauren Martin (keyboards), and Luke Pyenson (drums) playing as a tight unit. With the help of producers Nate Mendelsohn and Katie Von Schleicher, they envelop Kline's songs and her high, thirst-quenching soprano in settings of great flexibility within the indie-pop framework they still occupy, if now with a touch of psych-rock. Over the course of 16 tracks, some of them quite short, Kline emerges as songwriter who uses a combination of broad, colorful strokes, specific details, and humor to create a persona to whom it is very easy to relate, especially if you're a creative person. As she notes in Empty Head (at 5:13 the longest song in Frankie's cosmos!): "I’m always bursting at the seams/I’ll tell you all about my dreams/I wish that I could quiet it/accept a little silence/maybe one day I’ll find it/and I’ll toe the line." God forbid that ever happens!

Winter - What Kind Of Blue Are You? Though Brazilian-born singer/songwriter Samira Winter has been releasing music for at least a decade, it took this year's collaboration with roots reggae revivalist Pachyman to bring her to my ears. Her vocals on that confection of a song, smooth yet infused with the saudade of her home country, stuck with me. I'm happy to report, that even if there's no reggae on this sophomore LP, it reveals a confident songwriter and producer (she co-produced with Joo Joo Ashworth, who also worked on that kick-ass Automatic album) who creates emotionally specific vignettes out of spare elements, both lyrically and sonically. For example, on the feedback-drenched Write It Out, her prescription for art's healing powers is one easy to take to heart: "Sit down, write it out/When there’s nothing left to do/Reaching higher ground/Keep pushing through the blues." Then there's Good, which languorously moves through its melancholy chord changes as guest vocalist Sasami repeats "I wanna be good to you/Wanna be good to you/Wanna be good..." As the guitars gain heat and noise, the protagonist's goal seems ever more remote - and fascinatingly so. By tinting her grungy shoegaze pop with some Julee Cruise mystery, Winter leaves a haunting wake on this compelling album.

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Record Roundup: Songs And Singers
Record Roundup: Rock Formations
Record Roundup: Siren Songs

Best Of 2020: Electronic

Electronic music comes in many flavors and sometimes it's as much about the attitude as the instruments used. But one thing all the albums below have in common is the presence of synthetic sounds or treated instruments. My Top 25 included five albums that could slot in here (Molly Joyce, Matt Evans, Nnux, Miro Shot, and Yaeji), but there were a number of others that transported me, which I have detailed below. Let them take you places.

A few of these were included in previous posts - links to those will come first, followed by new reviews.

Hear tracks from these albums here or below.

Of Note In 2020: Electronic

Roger Eno & Brian Eno - Mixing Colors (also check out Film Music: 1976-2020)
Seabuckthorn - Through A Vulnerable Occur (also check out Other, Other)
Beatrice Dillon - Workaround

Daniel Wohl - Project Blue Book Soundtrack This show, a UFO procedural on The History Channel, has ended, but Wohl's expertly crafted and evocative music lives on in this tightly assembled soundtrack album. While the emotional depths of Corps Exquis or Etat are only hinted at, Wohl's burnished textures and subtle structures are put to excellent use. 

Oneohtrix Point Never - Magic Oneohtrix Point Never I'm not sure if Daniel Lopatin, who performs as OPN, reached a new level of feeling on his soundtrack for Uncut Gems or if a key turned in me, giving new access to his music, but this new album is similarly dazzling. One main difference is the presence of hopeful and even upbeat sounds, as opposed to the unremitting (and wonderful) grimness of Uncut Gems. His use of unexpected sonic juxtapositions and overlays puts him in the class of master bricoleurs, giving us soundscapes both adventurous and assured. I'm now looking forward to investigating the last decade or more of ONP albums to see what I missed the first time around!

Various Artists - Music From SEAMUS, Vol. 3 and Vol. 23 These archival releases from the Society for Electro-Acoustic Music in the United States are consistently fascinating, whether it's the mutating piano on Larry Nelson's Order And Alliance (1991) from the first or Chester Udell's assemblage of metallic and white noises on Steel Golem (2011-12) from the second. And how cool to see Switch~Ensemble crop up here, in a recording of Christopher Chandler's Smoke And Mirrors from 2013, a gorgeous miniature of enhanced chamber music.

Mary Lattimore - Silver Ladders This is an album to sink into, as Lattimore's harp loops and echoes, like ripples on a pond, enhanced by delicate touches of guitar and synth from Slowdive's Neil Halstead. File under: Balm for the soul.

Corntuth - Music To Work To There's some of the simplicity and cockeyed optimism of Raymond Scott's Soothing Sounds For Baby in these 13 tracks "written on the fly on a 1983 Yamaha DX7 and run through a Yamaha R100," but also unexpected moments of drama and a melodic sense straight from pop music. A-009 even brings a touch of soul to the experience. Whether you choose to have this delightful collection accompany your work or a strenuous session of cloud gazing is up to you, but I think you'll find it equally appropriate to either occasion.

Epic 45 - We Were Never Here There were always ambient touches to their gorgeous future-folk songs, never more so than on their masterpiece, Weathering, which was both in my Best Of 11 and 100 Best Albums Of The 2010's. On this lush album, they go all in - no words and few beats - and have arrived at their best since Weathering, with only a hint of the 80's tinniness that has crept into their work of late. Listen carefully and it may lead you down a hall of memories you forgot you had.

Emily A. Sprague - Hill, Flower, Fog Like Epic 45, Sprague is a very good songwriter (work she releases as Florist), who also pushes into ambient electronics, and this may be her best yet in that field, with much of the tuneful charm of her song-based work. As the title suggests, engagement with nature is an inspiration for her work so if your quarantine has you missing the outside world, put up the video for Star Gazing on the biggest screen in your house and revel in imagery and sound.

Glass Salt - Greetings There's a sense of intuitive collage to these tracks by Caylie Staples and Johann Diedrick, with voices set alongside synth sounds and unidentified percussive noises. There's a gentleness here, too, perhaps a product of what appears to be a seamless collaboration, something to which we can all aspire. Yet another great release from Whatever's Clever!

Sofie Birch - Hidden Terraces and Behind Her Name Chestnuts Fall Forever On these three long tracks, Birch combines piano, field recordings, and electronics in what feel like films for the mind. The way she imperceptibly moves from section to section in each piece gives you a sense of a firm structural hand even as you lose yourself in the languor.

Michael Grigoni & Steven Vitiello - Slow Machines A shimmering combination of Grigoni's luminous work for stringed instruments of all sorts and Vitiello's enhancements, including synths, field recordings, etc. Vitiello is an old college friend and usually plies his trade more in the realms of installation-based sound art so I'm thrilled to have this cogent and supremely listenable album to enjoy at home - and share with you.

Ian William Craig & Daniel Lentz - Frkwys Vol. 16: In A Word Collaborating with pianist Lentz seems to have brought new subtlety to Craig's signature glitched and chopped vocals. Contemplative, but with an edge.

Nils Frahm - Tripping With Nils Frahm Aside from one or two overly sentimental solo piano moments, this is genuinely thrilling - in a quiet way - as Frahm builds up his hypnotic electro-acoustic tracks in front of a rapturous live audience. Get closer to the experience by watching the documentary film.

Narducci - El Viejo Soundtrack Matthew Silberman, who records as Narducci, shows great skill with texture and dynamics, drawing you through the narrative of this documentary about athlete Thom Ortiz. Narducci has been busy this year - he also released a soundtrack for another documentary, Until the Day Someone Puts Me in a Coffin, about Brazilian Ju Jitsu, and a single called Ancient Dialogue, an intriguing blend of sampled Inuit singing and electronics with a true ceremonial flair. I could do with more of that combination, but instead I'll just put the video on repeat and go tripping with Narducci.

Taylor Brook - Apperceptions Composer Brook shows a very different, but no less innovative, side of himself here than on the cutting edge chamber music of Ecstatic Music, his 2016 album with Tak Ensemble. Featuring improvisations for his electric guitar and an "audio-corpus-based AI improviser" he designed, these tracks are full of sinuous melodic lines and chords that feel lit from within, gently growing more complex as the computer takes up the themes and provides its own variations. Should the singularity ever occur, I hope Brook and his software collaborator are on hand to provide the soundtrack.

Adam Cuthbért & Daniel Rhode - Greet The World Every Morning With Curiosity And Hope The title of this latest from the modular masters of Slashsound says it all for this perfect blend of burnished tones and cautiously optimistic vibes. And what better way to start the new year?

For similar noises, check into this archive playlist with much more where these came from and follow the 2021 playlist to see what this year brings!

You may also enjoy:
Best of 2019: Electronic
Best of 2018: Electronic
Best of 2017: Electronic
Best of 2016: Electronic

Best Of 2018: Electronic

The music I put in this category is not always primarily synthetic or computer-driven yet evinces a certain artistic stance that makes it fit. My Top 25 included three albums along these lines: You Were Never Really Here by Jonny Greenwood, Zebra by Arp, and Quilt Jams by Elsa Hewitt, but there were quite a number of other excellent releases that kept me coming back for more. Find out about them in this unordered list, starting with some I covered in a post early in the fall.

Record Roundup: Electronic Excursions
Good Luck In Death - They Promised Us A Bright Future, We Were Content With An Obscure Past
I-VT - BLOC
Novelty Daughter - Cocoon Year

Various Artists - S&S Presents: Dreams Intrigued by the gorgeous packaging and the promise of an unheard track by Mutual Benefit, I picked this up at their concert at Park Church Co-Op last month. What I ended up with was entree into another world. Although I was familiar with many of the artists (Sea Oleena, Julie Byrne, Kaitlyn Aurelia Amith, etc.) the compilers, who run a blog called Stadiums & Shrines, had not crossed my radar before. Based on their series Dreams, for which they commissioned favorite artists to step slightly outside of their lanes and compose ambient tracks inspired by collages created by S&S co-founder Nathaniel Whitcomb from images clipped from one vintage travel book, they know what they're doing. As expected, Bali, the Mutual Benefit song, is a standout, a pure distillation of their current approach into instrumental form - but there is no filler on Dreams. Stream the album and you will find yourself sinking slowly into a transporting continuous experience - but if you buy it on vinyl or digital you can also lose yourself in those wonderful collages along with writings by Dave Sutton and Matthew Sage. Now leave me alone as I have to catch up on a decade of Stadiums & Shrines!

Enofa - Arboretum Displaying a command of structure not so common in this genre, Ross Baker’s 42-minute suite masterfully blends electronic and acoustic instruments with field recordings for a cinematic journey in sound. His album Melkur, which came out late in the year, finds him bringing the same approach to shorter pieces, mostly with success. Another release, the 15-hour compilation 2T: Experimental Works 1995-2017, explains why he’s so good - he’s put in the work for decades.

Masayoshi Fujita - Book Of Life Composer and virtuoso vibraphonist Fujita has a way of creating sound images that feel as natural as breathing. The use of nouns related to nature and weather (fog, snow, clouds and mist all make appearances) in the song titles is perfect for the atmosphere that will be created while you play this lovely music. There's also sense of melancholy and exploration, which keeps things from becoming too precious.

Laraaji/Arji OceAnanda/Dallas Acid - Arrive Without Leaving Just when we needed him, the man born Edward Gordon has been having a major moment for the last couple of years, from reissues and remixes to concert appearances and now this album. A collaboration with OceAnanda, his longtime partner in leading meditation workshops, and a synth trio from Texas, this album finds his trademark autoharp combining perfectly with they synths and OceAnanda’s mbira to create swirling clouds of sound that warm your heart and soothe your mind. All these years later, you can still hear the beauty and humanity that stopped Brian Eno in his tracks on a New York street corner before he invited Laraaji into the studio to create Ambient 3: Day Of Radiance.

Tim Hecker - Konoyo Almost a decade ago, Hecker corralled my consciousness (and that of many others) with Ravedeath 1972, but nothing really grabbed me since then. Until Konoyo, that is, which puts his supremely beautiful textural combinations on full display in a seven-song suite that is not so much cinematic as novelistic, with certain sounds almost becoming characters to be followed as you listen. The emotions here - wistfulness, sorrow, acceptance - are deep and deeply nuanced. It would be easy to assume Hecker is running on some kind of extraordinary series of instincts in putting this stuff together, but more likely there's a load of craft and experimentation behind it all. Either way, the end result feels completely inevitable without a hint of contrivance.

Rival Consoles - Persona Compared with Tim Hecker and some of the other items on this list, this project of Ryan Lee West's almost seems to be delivering pop songs, although of a brooding and moody variety. Take the title track, which uses a subdued dance beat to push sweeping chords through time and space, with a central hook that echoes in my mind for days. 

Nils Frahm - All Melody The vinyl package of this is so fantastic that it took me a while to reconcile it with how wildly uneven the album is. The first two tracks, for example, are almost completely forgettable, but then we get magic like A Place, My Friend The Forest and Harm Hymn. If he could have kept the quality at that level, it would have been extraordinary. The duff songs are more than made up for by an accompanying EP called Encores 1, which is all top notch stuff. Sometimes even someone as talented as Frahm might not know what his best work sounds like.

Kuuma - Level This is another collage-like blast from the mind of Adam Cuthbért (I-VT - see above, slashsound,etc.), this time purporting to the "the origin story of Kuuma, a databorne algorithm," which is fun to think about while you listen. Get the picture here - or just listen and let your imagination write your own story.

Viberous - Splintered This queasy and claustrophobic trip into sonic degradation was introduced to me by Cuthbért, who remixed the last song, Nettle, and could be seen as of a piece with Kuuma and I-VT. Do I sense a movement? Sign me up!

Ian William Craig - Thresholder Speaking of sonic degradation, no one does the "machines breaking down with film burning in the projector accompanied by Gregorian chant" like this classically trained singer, songwriter and producer. Of course, he's been doing his thing since at least 2014 when he released the stunning A Turn Of Breath. This album finds him in top form, so if you're still unfamiliar feel free to start here.

Frederic D. Oberland - Labyrinth In addition running Nahal Recordings, who released the epic Good Luck In Death album mentioned above, and his work as a photographer, Oberland is also a producer, composer and multi-instrumentalist. Labyrinth is his second album and manages to somehow be both pitch black and optimistic. With inspiration coming from Dante and the "anguish and ecstasy" of George Bataille's Inner Experience, I suppose that's to be expected!

E Ruscha V - Who Are You There is also optimism to be found here, in the latest work by Ruscha who has a large collection of vintage gear and knows how to use it. Ruscha knows how to have fun, too, such as on the title track, which would be the perfect accompaniment to an underwater robot ballet. Some of the delight to be found here may have a genetic origin, as Ruscha is the son of one of my favorite artists, Ed Ruscha. Book a flight on Guacamole Airlines if you need to know more.

Narducci - Break The Silence Matthew Silberman, who made one of the best jazz albums of the decade a few years ago, is the main man behind Narducci and one of these days I need to ask him why that name? But for now, I'm too busy being fascinated by all the ideas behind the four tracks on this EP, which feature electronics, sax, vocals and even a speech by Martin Luther King, Jr. There is enough ambition here, and (dare I say) spirituality that listening is a deeply involving experience. Sometimes I play it on repeat, which is a sure sign that I want more.

Saariselka - Ceres I've been waiting for something new from Marielle V. Jakobsons ever since Star Core came out in 2016 and just recently became aware of this shimmering collaboration between her and Chuck Johnson, a pedal steel player. The combination of his treated guitar with her Fender Rhodes and other keyboards is just sublime. If another year must go by without a follow up to Star Core, additional music like this would make the passing of time completely painless.  

Elizabeth Joan Kelly - Music For The DMV Isn't it funny that most of the artistic children of Brian Eno's Ambient 1: Music For Airports are for much less mundane uses (meditation, primarily) than visiting a transportation hub? Kelly, a composer from New Orleans, has taken her inspiration in the opposite direction, to a destination even more reviled than JFK or LGA: the Department of Motor Vehicles. While one would think that relaxing sounds would be the best thing to help survive another license renewal, Kelly uses a variety of shiny textures and bright melodies to instead provide distraction. And there's plenty of that to be found here, as well as charm, especially in the three tracks classed as Gymnopedies. Best of all, however, is Call My Number, which has an almost comical sense of yearning and absolutely reminds me of that time when the scheduling system crashed at the DMV and I lost my place in line.

Brian Eno - Music For Installations There are few artists who loom larger in the field of electronic music than Eno and even fewer that could credibly release something like this five hour behemoth of a set. Stretching back as far as 1985, the set collects nearly everything Eno created for his installation work or other visual projects like 77 Million Paintings, which combined software and sound art. The penultimate "disc" is called Making Spaces and was originally sold at installations. Featuring short pieces, including a beauteous number for guitar called New Moon, it showcases a different side of the artist, closer to the concision of Music For Films Volume II than the rest of the set. There are also four tracks for "future installations," which qualifies as a new Eno album of gleaming subtlety and proves once again that nobody does it better. 

Find tracks from all these releases, except Cocoon Year and Splintered, in this playlist or below. Want more? Check out the Archive, which has several additional hours of electronic intrigue to explore! What did I miss?

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Best of 2018: The Top 25
Best of 2018: Classical 
Best of 2017: Electronic
Best of 2016: Electronic