“She Will”

Even if you’ve never heard of Hugh Marsh you’ve almost certainly heard the sound of his violin. He’s a featured player on soundtracks by Hans Zimmer and Harry Gregson-Williams, was nominated for a Juno award, recorded with Iggy Pop and The Stooges, and was in the backing band for Bauhaus’ Peter Murphy, all a tiny fraction of his decades-long list of credits. The latest addition to that list is Marsh’s own Violinvocations, an LP recorded while Marsh lived in L.A. with friend, mentor, and fellow soundbender Jon Hassell.
Despite the album’s title, one would be hard-pressed to say with certainty whether violin was even involved in this album without being told so ahead of time. In one moment a ghost is heard weeping into a dictaphone; a digitized anime character is nervously chattering in the next; and in still another, jagged sheets of distortion avalanche toward the listener beneath auroric swells of harmony. It’s the kind of sound design that requires a dedicated attempt by any Oneohtrixian laptop composer, only it’s all being generated by Marsh’s violin and his curious cabinet of effects pedals often in just one take. +

“VIII (with Marissa Nadler)”

On With Voices, experimental artist Machinefabriek constructs a bewildering aural architecture around vocal contributions from Marissa Nadler, Peter Broderick, Richard Youngs, Terence Hannum, Chantal Acda, Marianne Oldenburg, Zero Years Kid, and Wei-Yun Chen on what may be the most affecting Machinefabriek release to date. +

Between his stints as a touring member of Girlpool and Dear Nora’s live bands, Utopia Teased, Steinbrink’s 8th full-length album, was written and recorded in the wake of the Ghost Ship fire in Oakland. Stunned with grief in the months that followed the fire, he ate LSD daily, bought a synthesizer, and locked himself in his shipping container studio, refusing to sleep for days as he worked on the album that would become Utopia Teased as a means of working through his overwhelming feelings of cynicism and loss. Pitchfork calls lead single “Bad Love” “a perfectly-hewn pop song.” +

A penumbra is the space between the shade and the light of a partial eclipse, the area that is neither blacked-out nor illuminated fully. Like this twilit fringe between being and non-being, the production of Spencer Stephenson-- known for his output under the name Botany-- gives shape and circumference to The Skull Eclipses’ self-titled debut. Penumbras lays bare that album’s hybrid scaffolding of ambient boombap, dubby jungle, and hauntological sample-collage revealing a multifaceted beat tapestry unadorned by lead-vocals, standing alone as a full-length listening experience. Hear lead single “Take My”, which samples The Free Design below. +

Brocker Way’s original score for the Netflix docuseries Wild Wild Country is meant to reflect the outlook of each of the show’s interviewees rather than simply emphasizing their outward idiosyncrasies. The music invites the listener to inhabit the myriad personalities and situations in the show from a virtual first-person perspective. In Way’s words “This kind of music gives us an idea as to the motives of each talking head, without actually scoring the motives of the character, and hopefully entices us as the audience to take the journey with them. When the Rajneeshees are building their town, you get to feel that and be right there with them. When Dave Fronmeyer is building his case, you get to feel the nobility he saw in his cause, and we hope to put you right in the room with him when he’s doing it. When a city inspector has to go onto the ranch you can feel the fear as you sit in the car with him. That’s the goal anyway.” +

On Moon 2 Ava Luna’s de facto band leader Carlos Hernandez steps back, leaving space for the rest of the band members to step up and step into roles they hadn’t occupied on previous albums. Felicia Douglass (now a touring member of Dirty Projectors) worked with percussion and sampler, Julian Fader experimented with synths, nearly every band member ran the computer during recording sessions, and Becca Kauffman (aka performance artist Jennifer Vanilla) composed her first song for the group “On Its Side the Fallen Fire,” a deeply layered orchestral piece of Kate Bush grandeur meets Julia Holter reverie. The Fader premiered the infectiously buoyant lead single “Deli Run,” which you can check out here. +

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