one long song
recorded nowhere
between May 2019 and May 2020
released Aug. 7th, 2020
as a 2xLP by
P.W. Elverum & Sun
box 1561
Anacortes, Wash.
U.S.A. 98221
get one:

Bass: Joshua Frank
Guitar/Vox: Tom Ng

Experiential composer Tim Hecker’s ninth official full-length, Konoyo (“the world over here”) was largely recorded during several trips to Japan where he collaborated with members of the gagaku ensemble Tokyo Gakuso, in a temple on the outskirts of Tokyo.
"Inspired by conversations with a recently deceased friend about negative space and a sense of music’s increasingly banal density, Hecker found himself drawn towards restraint and elegance, while making music both collectively and alone.
As with the Icelandic choir he arranged on 2016’s Love Streams, the heights of Hecker’s talent emerge in his manipulation of source material, bending and burnishing it into fantastical new forms. Keening strings are stretched into surreal, pixelated mirages; woodwinds warble and dissipate as fractal whispers of spatial haze; sparse gestures of percussion are chopped, isolated, and eroded, like disembodied signals from the afterlife. Both in texture and intent, Konoyo conjures a somber, ceremonial mood, suffused with ritual and regret. Visions flutter and fade; dreams gleam and decay.
Hecker will stage a series of special performances in tandem with the album's release, featuring members of the gagaku ensemble on shō, ryuteki and hichiriki, accompanied by Kara-Lis Coverdale."

Telas (Veils) is multiple things at once. It's a visual terrain created by artist Somnath Bhatt. It's a record by Nicolás Jaar, with key contributions from Milena Punzi (cello), Susanna Gonzo (voice), Anna Ippolito & Marzio Zorio (instrument makers), and Heba Kadry (mastering). It's a digital terrain created by Abeera Kamran where the sounds and illustrations of Telas live in their primordial states. The site was imagined by Abeera, Somnath and Nicolás as a panspermic terrain where no matter -whether existing in thought, physical form or other- has a solid or unmovable origin.
Multiple parts of the music were first played during two shows at The Kitchen in NYC in the fall of 2017, alongside performances by Africanus Okokon and Patrick Higgins. (
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Telas is Nicolás Jaar's 6th full length album, and follows Cenizas from earlier this year.
Tracklist:
Telahora
Telencima
Telahumo
Telallás
Telas is out on July 17th on Other People. The physical edition of the album will be handled by Mana Records

委内瑞拉音乐制作人Arca在她开创性的同名专辑发行三年后公布了最新录音室专辑 KiCk i，通过XL Recordings于6月26日以数字专辑形式发行，而7月17日将发行实体黑胶唱片和CD唱片。
After releasing lead single “Nonbinary” alongside a cybernetic music video earlier this month, Arca has now shared the release details of her forthcoming studio album, KiCk i. Arriving via XL Recordings, the follow-up to her groundbreaking self-titled album from 2017 will release digitally on June 26, with physical vinyl and CD options coming on July 17.
“I don’t want to be tied to one genre,” Arca explains about KiCk i. “I don’t want to be labeled as one thing.” Produced and recorded by the Venezuelan artist, singer, and experimental composer, KiCk i boasts a stacked list of features from fellow boundary-pushers. Björk, Rosalía, Shygirl, and SOPHIE will all make cameos on the album, the first time Arca has collaborated with other artists on her solo material.

Arca has shared a new song, “Mequetrefe,” from her forthcoming album KiCK i, scheduled for release on July 17 via XL. In a statement, Arca s aid “Mequetrefe” is about “the tenderness behind expressing who you are without shame, and the confidence and bravery it requires, because expression of gender-nonconforming self-states in a public space can often result in static within your environment.”
“Mequetrefe” follows the previously released singles “Nonbinary” and “Time.” Arca also recently teamed up with Shygirl for “unconditional,” a Bandcamp-exclusive single whose proceeds went to Black Lives Matter and Inquest UK.

After releasing lead single “Nonbinary” alongside a cybernetic music video earlier this month, Arca has now shared the release details of her forthcoming studio album, KiCk i. Arriving via XL Recordings, the follow-up to her groundbreaking self-titled album from 2017 will release digitally on June 26, with physical vinyl and CD options coming on July 17.
To commemorate the news, Arca has shared the project’s second single, “Time,” which originally premiered in her four-part “Mutant:Faith” performance last September. The track deep-dives into the realms of synth-pop and electropop, adding Arca’s signature twists and turns with lengthy reverbs, scintillating synths, and more. The single’s release comes alongside a Carlos Sáez and MANSON-directed music video for the track, which was filmed in front of a live audience at NYC’s The Shed and on the city’s streets.
“I don’t want to be tied to one genre,” Arca explains about KiCk i. “I don’t want to be labeled as one thing.” Produced and recorded by the Venezuelan artist, singer, and experimental composer, KiCk i boasts a stacked list of features from fellow boundary-pushers. Björk, Rosalía, Shygirl, and SOPHIE will all make cameos on the album, the first time Arca has collaborated with other artists on her solo material.

Last month, Alejandra Ghershi released a 62-minute single called @@@@@, her first new music since 2017's Arca. Broadcast on NTS, visualized on YouTube and finally put on streaming services as one long track for XL Recordings, it's yet another release from Ghershi with an experimental format. @@@@@ operates in the same vein as 2013's &&&&& and 2016's Entrañas, records that are not quite albums nor mixes, but perhaps serve as outlets for the artist's many ideas in between. After all, Ghershi tinkers with a lot of new music without official release. Since her last studio album, she has toured extensively, performed for Burberry and created a four-part immersive performance for New York art center The Shed. (The artist also just announced her next LP, KiCK i.) It's possible that music from these projects inspire bits of @@@@@—but with few performance videos and strict no-phone policies at her shows, part of Ghershi's work is, at least in the iPhone era, ephemeral and untraceable.
This way of being fits the new single's concept: sci-fi pirate radio. "@@@@@ is a transmission broadcasted into this world from a speculative fictional universe in which the fundamentally analogue format of FM pirate radio remains one of few means to escape authoritarian surveillance," she posted. Though it may be a fantasy framework for @@@@@, reality is not far off. We already live in a dystopian world where culture is dictated by machine-learning algorithms. By delivering a single, 62-minute piece of sound, Ghershi protects her individual tracks—which each have a title and time stamp—from becoming part of the data mining system. This move, however subtly, reminds us that taste should not be codified and rules aren't always right. Who better to deliver that message than Ghershi?
@@@@@ is another test of limits, made up of 30 short, surreal and, most characteristically, jarring sketches. Similar to past mixtapes, where one track ends and another begins is hard to parse. Meanwhile, the rhythms are erratic and the sound design marries extremes—sharp and airy, mystical and mutant, psycho and serene. Standout moments show the best sides of Ghershi's production work. "No Lo Digas," at 34 minutes, aches with the poignant singing revealed on Arca. "Membrane," at 39 minutes, shows the idiosyncratic beatmaker, a soft instrumental that's as pretty as it is ragged, topped off with sensuous masculine whispering. "Apuro," at 42 minutes, and the following "Saintly Pride," also found in a 2018 Primavera Sound live show, are rambunctious rave bangers with Ghershi's industrial-sized drums.
The single may be full of these kinds of highlights, but over its hour-long jumble of ideas—twice the length of Ghershi's other mixtapes—I wished more than once the "next" button were an option. @@@@@, much more casual and freeform than the artist's albums, is not so much a defining musical moment as it is another spectacular show of Ghershi's personality: the creature of chaos, the matriarch of experimental club, the artist who authentically straddles playful and profound. After repeat listens, I find myself enjoying @@@@@ most by starting around the 20-minute mark, with "Psychosexual," a track where Ghersi flaunts her attitude. "You can shake that pussy, bitch," she busts out over a slimy beat. "I don't care what genitals you were born with!"

“Funkstörung” is Funkstörung's 4th longplayer. After a ten years break this album comes along like a twisted Janus' head on a perfectly toned body. It's everything you've expected from glitch hop's inventors and everything you have not. For those eagerly awaiting the moment Funkstörung would come around the corner with a new innovation of electronic music, just like they did with their first record: This time they did not. Instead they do what they do best and take up the path they started to carve with “Disconnected”: Luscious pop songs with heavy backbones, illustrious guests adding heartfelt vocals to a bed of fizzing basslines. It is a very vocal album - there are guest singers on nearly every song on the record - but they do not domineer the sound of it. They all just contribute to a fresh version of Funkstörung that has ripened a bit and got seasoned with a hell lot of flavour.
Some of the voices on “Funkstörung” have been part of the family for a while, some of them, like Jamie Lidell, are new collaborators. But wether with old friends or newfound partners all of the 14 songs on the album get to the heart of electronic pop. As a whole, the record seems so well balanced it's ready to be an instant classic. Each of the songs transports a timeless quality of content sunny vibes which would go as well with a very expensive wine in front of a fireplace, as with a plastic cup of beer and rubber boots at a muddy festival.
Instead of concentrating on glitches and breaks the effort of the two producers has gone into growing every sound into perfection, one can feel that no time pressure fixated a detail onto the wrong place. Like the duo say, the record is “evolution not revolution”. The album comes in a beautiful sleeve design by lauded graphic artists Zeitguised and Sebastian Onufszak.
“Funkstörung” is a very confident record not desperately trying to be zeitgeisty but most certainly up to date.

Samaris return with a brand new album ‘Black Lights’ via One Little Indian on 10th June.
Written and recorded over the past year in Berlin, Reykjavik and Ireland, ‘Black Lights’ is the Icelandic trio’s most fully realised and accessible record yet - sung for the first time entirely in English, and headed up by gorgeous lead-off single ‘Wanted 2 Say’, released on 8th April.

Anthony Child claims that the inspiration for his seventh artist album came from using hardware to receive transmissions from far-flung galaxies. He then hooked up with astrophysicist Dr Andrew Read - a former collaborator - to work out the bewildering track titles. That's the concept. The reality is that From Farthest Known Objects is a dense, grainy work. It feels like Child has deconstructed or in some more extreme situations has hacked away at tropes like minimalism, clicks and cuts and dub step to reveal an inner, hidden world. On the first few tracks, this alternate reality resounds to a sluggish pace, amid the crackle and groan of cleaved percussion and tortured subs, but it gradually comes round to stepping, broken beat techno and lunging rhythms. That these also descend into pulverising walls of white noise and nausea-inducing frequency shifts at times also serve as a reminder that Child has tuned into something other or inner-worldly.

Tunisian leftfield experimentalist Deena Abdelwahed returns with an EP that ‘s taking her message back to the dancefloor. Straying away from personal identification, these tracks keep on focusing on sonic influences from her home region, be it in terms of rhythmic structure, sampling or other local sources. A highly versatile package for any forward-thinking DJ and further proof of this producer ‘s unique ability to fuse Arabic music references with club music.