Listening to… 🎧

We’re listening to Matthew Halsall, an English trumpeter and composer. Born and based in Manchester, Halsall took up trumpet in his early teens and got into turntable and sample culture through labels Warp and Ninja Tune.¹ Like Sven Wunder, Halsall orchestrates big band performances that convey smooth musicianship with a toned-down and meditative style. We’re first playing An Ever Changing View, his new record just out earlier this month. Then we’re playing Oneness from 2019, an hourlong record that plays a more Nala Sinephro-style harpy free jazz.

We’re listening to Matthew Halsall, an English trumpeter and composer. Born and based in Manchester, Halsall took up trumpet in his early teens and got into turntable and sample culture through labels Warp and Ninja Tune.¹ Like Sven Wunder, Halsall orchestrates big band performances that convey smooth musicianship with a toned-down and meditative style. We’re first playing An Ever Changing View, his new record just out earlier this month. Then we’re playing Oneness from 2019, an hourlong record that plays a more Nala Sinephro-style harpy free jazz.

We’re listening to Purelink, an electronic music trio based in Chicago. Akeem Asani, Ben Paulson, and Tommy Paslaski linked up in 2019 through a shared interest in Visible Cloaks, Basic Channel, and Chain Reaction.¹ The three fired up their laptops for a jam session and never looked back. They make ambient music that’s heavily inspired by dance music (house and techno); it’s like video game loading music for heavy contemplation. We’re playing their new LP, Signs, a brilliant collection of six ethereal tracks. Then we’re playing To / Deep also from this year, which incorporates more drum ‘n’ bass style percussion.

We’re listening to Purelink, an electronic music trio based in Chicago. Akeem Asani, Ben Paulson, and Tommy Paslaski linked up in 2019 through a shared interest in Visible Cloaks, Basic Channel, and Chain Reaction.¹ The three fired up their laptops for a jam session and never looked back. They make ambient music that’s heavily inspired by dance music (house and techno); it’s like video game loading music for heavy contemplation. We’re playing their new LP, Signs, a brilliant collection of six ethereal tracks. Then we’re playing To / Deep also from this year, which incorporates more drum ‘n’ bass style percussion.

We’re listening to Will Samson, British ambient producer. Samson’s first instrument was drums, and then his exposure to Explosions in the Sky et al. awakened him to a new style of purely instrumental music.¹ We’re playing Harp Swells, his new ambient record out just a few weeks ago. It’s a wondrous ambient record for Monday for reacclimation into the workweek. We’re also playing his 2020 record Together, which was recorded with Bristol-based musician Message to Bears.

We’re listening to Will Samson, British ambient producer. Samson’s first instrument was drums, and then his exposure to Explosions in the Sky et al. awakened him to a new style of purely instrumental music.¹ We’re playing Harp Swells, his new ambient record out just a few weeks ago. It’s a wondrous ambient record for Monday for reacclimation into the workweek. We’re also playing his 2020 record Together, which was recorded with Bristol-based musician Message to Bears.

We’re listening to Christina Chatfield, an electronic music producer from the American midwest. She studied music at the Berklee College of Music before relocating to the Bay Area.¹ There, in the early 2010s, she started DJing acid house and techno music at local parties. In the past few years she’s put out her own releases, which are extraordinary. Sutro from 2021 isolates the synth elements of dance music as if for close inspection, beautifully fusing ambient and dance aesthetics. We’re also playing her 2020 EP, which is more clubby and half the tracks are remixes.

We’re listening to Christina Chatfield, an electronic music producer from the American midwest. She studied music at the Berklee College of Music before relocating to the Bay Area.¹ There, in the early 2010s, she started DJing acid house and techno music at local parties. In the past few years she’s put out her own releases, which are extraordinary. Sutro from 2021 isolates the synth elements of dance music as if for close inspection, beautifully fusing ambient and dance aesthetics. We’re also playing her 2020 EP, which is more clubby and half the tracks are remixes.

We’re listening to Dopplereffekt, a techno music act from Detroit. The leader of the act was Gerald Donald, who also co-founded the group Drexciya. With Dopplereffekt, as with many of Donald’s projects, he uses machines to create music that simulates and scores future worlds of man-machine conflict, synthesis, and capture. We’re playing Dopplereffekt’s 1999 LP, Gesamtkunstwerk. Beyond the titles, the influence of German proto-techno artists like Kraftwerk is clearly heard on tracks like “Satellites” and “Plastiphilia.”

We’re listening to Weils, a Swedish instrumental blues band based in Stockholm. Formed by Jonas Teglund and Isak Sundström, who mostly play guitar and synths. They play “a kind of inverted blues without blue tones,” which is to say they borrow templates and progressions from blues, but they play in a major key. Their one and only LP, Fugue State, from 2022 begins with a 23-minute jam and from there oscillates from hard rock to almost slow gospel. They’re joined on their journey by a supporting cast on sax, flute, harp, pedal steel, bass, and drums.

We’re listening to Ex Confusion, a Japanese ambient artist based in Tokyo. The project, by multi-instrumentalist Atsuhito Omori, passes guitar and piano recordings through electronic effects processors.¹ The result is nostalgic soundscapes that call to mind Flow State favorites like Grouper and Rachika Nayar. We’re playing two of his LPs that showcase his wistful ambient sound: I Remember When from 2019 and Embrace from 2012.

We’re listening to Ex Confusion, a Japanese ambient artist based in Tokyo. The project, by multi-instrumentalist Atsuhito Omori, passes guitar and piano recordings through electronic effects processors.¹ The result is nostalgic soundscapes that call to mind Flow State favorites like Grouper and Rachika Nayar. We’re playing two of his LPs that showcase his wistful ambient sound: I Remember When from 2019 and Embrace from 2012.

We’re listening to something more upbeat. Today we’re listening to Grandbrothers, a German duo from Düsseldorf. Grandbrothers consists of Erol Sarp, a German-Turkish pianist, and Lukas Vogel, a Swiss engineer. The two source all of their music from the piano, Sarp mainly playing and Vogel mainly processing the sound emitted. They use the whole animal: drum tracks are really thumps upon the exterior; synth pads are really heavily reverbed chords. We’re first playing the pair’s latest record, Late Reflections, which just came out this past April. It’s upbeat yet refined, a high-definition exploration of the piano’s sonic range. We’re also playing Open from 2017, an earlier effort that augered well of their immense talents.

We’re listening to something more upbeat. Today we’re listening to Grandbrothers, a German duo from Düsseldorf. Grandbrothers consists of Erol Sarp, a German-Turkish pianist, and Lukas Vogel, a Swiss engineer. The two source all of their music from the piano, Sarp mainly playing and Vogel mainly processing the sound emitted. They use the whole animal: drum tracks are really thumps upon the exterior; synth pads are really heavily reverbed chords. We’re first playing the pair’s latest record, Late Reflections, which just came out this past April. It’s upbeat yet refined, a high-definition exploration of the piano’s sonic range. We’re also playing Open from 2017, an earlier effort that augered well of their immense talents.

We’re listening to Harmonia, a krautrock band that formed in Forst, Germany, in 1973. Dieter Moebius and Hans-Joachim Roedelius of the band Cluster joined forces with Michael Rother of Neu!¹ The trio recorded motoric ambient music, where minimalist tracks repeat and repeat but nonetheless convey the sense of progress. Their 1974 album, Musik von Harmonia, is a mostly uplifting and optimistic record with phase-shifted analog loops. We’re also playing Live 1974, an hourlong jam session with mainly synthesizers and a drum machine. The two records were reissued by Groenland Records in 2015 and 2007 respectively.

We’re listening to Harmonia, a krautrock band that formed in Forst, Germany, in 1973. Dieter Moebius and Hans-Joachim Roedelius of the band Cluster joined forces with Michael Rother of Neu!¹ The trio recorded motoric ambient music, where minimalist tracks repeat and repeat but nonetheless convey the sense of progress. Their 1974 album, Musik von Harmonia, is a mostly uplifting and optimistic record with phase-shifted analog loops. We’re also playing Live 1974, an hourlong jam session with mainly synthesizers and a drum machine. The two records were reissued by Groenland Records in 2015 and 2007 respectively.

We’re listening to Brian McBride, an American ambient composer by way of Austin, TX and Los Angeles, CA. McBride co-founded Stars of the Lid, the duo that elevated ambient music in America across the ‘90s and 2000s. He was influenced by Brian Eno and Talk Talk, but also comedy albums by Zach Galifianakis and films by Krzysztof Kieślowski.¹ We recommended Stars of the Live this past May, and we strongly encourage you to listen to them if you’re unfamiliar. Today we’re playing McBride’s solo records: When the Detail Lost its Freedom from 2005 and The Effective Disconnect from 2010. McBride passed away earlier this month at age 53.² He will be missed.

We’re listening to Brian McBride, an American ambient composer by way of Austin, TX and Los Angeles, CA. McBride co-founded Stars of the Lid, the duo that elevated ambient music in America across the ‘90s and 2000s. He was influenced by Brian Eno and Talk Talk, but also comedy albums by Zach Galifianakis and films by Krzysztof Kieślowski.¹ We recommended Stars of the Live this past May, and we strongly encourage you to listen to them if you’re unfamiliar. Today we’re playing McBride’s solo records: When the Detail Lost its Freedom from 2005 and The Effective Disconnect from 2010. McBride passed away earlier this month at age 53.² He will be missed.

We’re listening to Aria Rostami, an American-Iranian music producer based in Brooklyn. He grew up on a musical diet of video games and MTV.¹ Since 2011 he’s been releasing enthralling ambient music, mixing synth pads with guitar and piano to create atmospheres of profundity. We’re first playing his new album, Siren, which was released August 4. It’s a meditative, contemplative record full of thought-provoking synths and field recordings of the texture of everyday life. We’re also playing Acra from 2021, which contains equally amazing instrumentals with more acoustic instrumentation. Track 7, “Swan with a Twisted Leg,” is an incredible composition.

We’re listening to Aria Rostami, an American-Iranian music producer based in Brooklyn. He grew up on a musical diet of video games and MTV.¹ Since 2011 he’s been releasing enthralling ambient music, mixing synth pads with guitar and piano to create atmospheres of profundity. We’re first playing his new album, Siren, which was released August 4. It’s a meditative, contemplative record full of thought-provoking synths and field recordings of the texture of everyday life. We’re also playing Acra from 2021, which contains equally amazing instrumentals with more acoustic instrumentation. Track 7, “Swan with a Twisted Leg,” is an incredible composition.

We’re listening to something more upbeat. Today we’re listening to Alexandre Bazin, a French electronic music producer based in Paris. Bazin has been influenced primarily by dance music from Britain and Berlin.¹ In his own music he practices a kind of recursion, sampling his own electronic production, and then looping and distorting it to interesting effect. His latest album, Innervision, came to our attention via a closer listen’s newsletter. The record’s ten tracks play beguiling synth loops over distorted, disintegrating drums. We’re also playing Concorde from 2021, which is more subdued and features more acoustic instrumentation.

We’re listening to something more upbeat. Today we’re listening to Alexandre Bazin, a French electronic music producer based in Paris. Bazin has been influenced primarily by dance music from Britain and Berlin.¹ In his own music he practices a kind of recursion, sampling his own electronic production, and then looping and distorting it to interesting effect. His latest album, Innervision, came to our attention via a closer listen’s newsletter. The record’s ten tracks play beguiling synth loops over distorted, disintegrating drums. We’re also playing Concorde from 2021, which is more subdued and features more acoustic instrumentation.

We’re listening to Shivkumar Sharma, an Indian santoor player from Jammu and Kashmir. Hat-tip Arushi Jain’s NTS show. Born in 1938, Sharma studied with his father, a tabla player, and adapted classical Indian pieces to the santoor. Sharma passed away May of last year. In its memoriam, the New York Times wrote:

The santoor, a trapezoidal wooden instrument whose strings stretch over 25 wooden bridges, is played with slim wooden mallets. On the santoor, in contrast with the sitar, sarod or sarangi — the string instruments traditionally used in Hindustani classical music — it is difficult to sustain notes and perform the meends, or glides from one note to another, which are essential to the Hindustani musical tradition. That might be one reason it took Mr. Sharma so many years to be recognized for his artistry.

Today we’re playing two transfixing Sharma albums: Pandit Shivkumar Sharma-Selection-Santoor from 2001 and Yugal Bundi from 1974.

We’re listening to Shivkumar Sharma, an Indian santoor player from Jammu and Kashmir. Hat-tip Arushi Jain’s NTS show. Born in 1938, Sharma studied with his father, a tabla player, and adapted classical Indian pieces to the santoor. Sharma passed away May of last year. In its memoriam, the New York Times wrote:

The santoor, a trapezoidal wooden instrument whose strings stretch over 25 wooden bridges, is played with slim wooden mallets. On the santoor, in contrast with the sitar, sarod or sarangi — the string instruments traditionally used in Hindustani classical music — it is difficult to sustain notes and perform the meends, or glides from one note to another, which are essential to the Hindustani musical tradition. That might be one reason it took Mr. Sharma so many years to be recognized for his artistry.

Today we’re playing two transfixing Sharma albums: Pandit Shivkumar Sharma-Selection-Santoor from 2001 and Yugal Bundi from 1974.

We’re listening to Ylan Chu, Canadian-born Vietnamese pianist from Ottawa. She studied piano performance at the Royal Conservatory of Toronto, University of Ottawa, and Université de Montréal where she recently completed her doctorate.¹ She’s put out two full-length albums to date. Her first LP, of Bach’s Goldberg Variations, came out in September 2022, and performs the canons, arabesques, and other variations adeptly. Her latest album, Live from Montreal, came out this past June, and collects solo piano performances of Ravel, Schoenberg, and Schubert. The last track on both albums is a continuous recording of all of the preceding individual tracks.

We’re listening to Chino Yoshio, a Japanese composer and pianist based in Kyotanabe. He studied electone and composition at the Yamaha Music School.¹ Since 2012 he’s been putting out primarily solo piano and keyboard music with a very delicate touch. Four of his full-length albums have been part of a “Relax” series, including the most recent one, Relax, Pt. 4, which came out in May. We’re playing that record as well as the first installment in the series, Relax 2015. The pieces are starkly minimalistic yet tender and full of moving melodies.

We’re listening to Chino Yoshio, a Japanese composer and pianist based in Kyotanabe. He studied electone and composition at the Yamaha Music School.¹ Since 2012 he’s been putting out primarily solo piano and keyboard music with a very delicate touch. Four of his full-length albums have been part of a “Relax” series, including the most recent one, Relax, Pt. 4, which came out in May. We’re playing that record as well as the first installment in the series, Relax 2015. The pieces are starkly minimalistic yet tender and full of moving melodies.

We’re listening to something more upbeat. Today we’re listening to Manuel Göttsching, a German guitarist and composer. Göttsching was born in West Berlin in 1952, invented a lot of the musical currents that flow through this newsletter, and passed away last December. When he was 17 he formed the group Ash Ra Tempel, a krautrock group that, along with their peers Can and Tangerine Dream, fused psychedelia with free jazz and novel synthesizers.¹ As a solo artist, Göttsching recorded Glass- and Reich-inspired minimalist music with guitars and synths, most notably E2-E4 from 1981.² Recorded in one take, E2-E4 (named after an opening chess move) would later influence early house and techno producers and become anthemic at formative clubs like Paradise Garage.³ We’re also playing Göttsching’s 1974 album, Inventions for Electric Guitar, which plays the same minimalism with just guitar and sequencer.

We’re listening to something more upbeat. Today we’re listening to Manuel Göttsching, a German guitarist and composer. Göttsching was born in West Berlin in 1952, invented a lot of the musical currents that flow through this newsletter, and passed away last December. When he was 17 he formed the group Ash Ra Tempel, a krautrock group that, along with their peers Can and Tangerine Dream, fused psychedelia with free jazz and novel synthesizers.¹ As a solo artist, Göttsching recorded Glass- and Reich-inspired minimalist music with guitars and synths, most notably E2-E4 from 1981.² Recorded in one take, E2-E4 (named after an opening chess move) would later influence early house and techno producers and become anthemic at formative clubs like Paradise Garage.³ We’re also playing Göttsching’s 1974 album, Inventions for Electric Guitar, which plays the same minimalism with just guitar and sequencer.

We’re listening to Agusa, a Swedish psychedelic progressive folk rock quintet.¹ Agusa formed in Malmö in 2013, aiming to bring together the epicness of prog rock with Swedish folk and classical influences. The band’s music consists of shredding guitar along with “Hammond organ swells” and “breathy, overblown flute,” as Last Rites put it. We’re first playing Agusa’s 2021 record, En annan värld, whose two 20+ minute tracks are transportive prog rock epics. We’re also playing their brand new album, Prima Materia, which came out last month and offers similar but shorter musical quests.

We’re listening to Agusa, a Swedish psychedelic progressive folk rock quintet.¹ Agusa formed in Malmö in 2013, aiming to bring together the epicness of prog rock with Swedish folk and classical influences. The band’s music consists of shredding guitar along with “Hammond organ swells” and “breathy, overblown flute,” as Last Rites put it. We’re first playing Agusa’s 2021 record, En annan värld, whose two 20+ minute tracks are transportive prog rock epics. We’re also playing their brand new album, Prima Materia, which came out last month and offers similar but shorter musical quests.

We’re listening to Helios, an ambient music project from American composer Keith Kenniff. We first recommended him back in July 2019. He started playing and writing music as a teenager in rural Pennsylvania, inspired by punk bands and artists like Bjork.¹ Since the early 2000s he’s released dozens of records across Helios and other projects Goldmund and Mint Julep.

We’re listening to Helios, an ambient music project from American composer Keith Kenniff. We first recommended him back in July 2019. He started playing and writing music as a teenager in rural Pennsylvania, inspired by punk bands and artists like Bjork.¹ Since the early 2000s he’s released dozens of records across Helios and other projects Goldmund and Mint Julep.

Today we’re listening to Ki Oni, an ambient music project from Los Angeles producer Chuck Soo-Hoo. We first recommended him back in August 2021. He’s out with a shimmering new record, An Evening Stroll to the Garden Party. Its two 15-minute pieces are full of soft organic sounds, with looped fragments panning and shapeshifting. We’re also re-upping his 2021 record, Stay Indoors and Swim, which features similar music but with a patina of nostalgic VHS fuzz.

It’s Friday so we’re listening to something more upbeat. Today we’re listening to Daft Punk, a French duo that was formed in Paris in 1993. In the ‘90s, members Thomas Bangalter and Guy-Manuel de Homem-Christo binged American house and garage music. The duo’s 1997 debut LP, Homework, was recorded at home on a JVC boombox. In a recent BBC interview, Bangalter cites the duo’s defining influences as Charlie Chaplin’s Modern Times, Stevie Wonder’s Songs in the Key of Life, and ‘70s horror movies such as The Texas Chainsaw Massacre. We’re also playing Daft Punk’s magnum opus, Discovery from 2001, which is a flawless masterpiece that ushered in the modern era of electronic music.

Today we’re listening to John Coltrane, an American saxophonist and composer from North Carolina. Born in 1926, Coltrane picked up sax in high school, and after serving in the navy moved to Philadelphia where he would meet his idol Charlie Parker and future collaborator Miles Davis.¹ A few weeks ago, a Coltrane record called Evenings at the Village Gate was released. The album’s recordings were made in 1961 with fellow saxophonist Eric Dolphy, at The Village Gate in New York’s Greenwich Village.² The tapes were unearthed only a few years ago from the archives of the New York Public Library, whose blog published a deep dive on the story behind the rediscovery. If you’re new to Coltrane’s melodious flutter, we’re also playing Blue Train from 1958, a cooler jazz album put out by Blue Note Records.