tQ's Reissues Etc. Of The Year 2023 (In Association With Norman Records) | Page 5 of 5

19.

Various ArtistsTokyo Riddim 1976-1985Time Capsule

The basic premise of Tokyo Riddim is intriguing in itself: a collection of tracks that document a fascination with Jamaican music in the Japanese cultural consciousness of the 1970s and 1980s. Yet to call this compilation merely ‘Japanese reggae’ belies a cultural exchange that goes beyond just those two countries. Though Bob Marley & The Wailers’ enormously successful 1979 tour of Japan is often seen to have skyrocketed reggae’s popularity there (and you can hear his influence strongly here, particularly on Miki Hirayama’s wholesale lifting of ‘Natural Mystic’ for her track ‘Denshi Lenzi’), it also explores the way that even before that, Japanese producers were lifting from British reggae-influenced pop bands like The Police and UB40, and combining those sounds with their native commercial city pop. Throw in anti-apartheid protest track ‘Johannesburg’ and the album’s scope stretches across four continents. Sometimes naïve, sometimes infectious, always immensely likeable, the songs on this compilation make for a deft exploration of the way music’s evolution is not always neat and tidy.

Patrick Clarke

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18.

Neil S. KvernDoctor Dancing Mask: PianoismsFreedom To Spend

Neil S. Kvern never played live (out of choice) and he released this cassette in 1983 mostly to friends and by word of mouth. I will put a pound in the swear jar for saying this, but it is hypnagogic (and also hypnopompic). I don’t mean to tag it with a passé genre, but to indicate that a number of tracks feel like they genuinely originated in the space between sleeping and waking. It reminds me of the jetlagged headspace when you’ve woken up at the wrong time and access a clear and unflustered type of consciousness; moments of insight when you haven’t yet woken up enough to get in your own way. Kvern was explicitly inspired by the minimalists, although the concert hall high culture of someone like Philip Glass is downshifted here to a tactile Pacific Northwestern lo-fi minimalism, imbued with the hiss and play of whatever the imperfect techniques were by which he captured some of these overdubs and spontaneous compositions (some of which would have been made with support from Eugene Electronic Music Collective and Soundwork, a public-access studio and performance space in Seattle).

Jennifer Lucy Allan

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17.

Wolf Eyes VADifficult MessagesDisciples

Wolf Eyes’ extreme sonics feel less an end in themselves than a mirror slipped beneath the cold underbelly of what’s normal to get a glimpse of what’s festering away on the flipside, treating noise as a way to boost the signal that unsettles normality and normalises the unsettled, rather than just a means to obliterate cochleas. This nuance comes across acutely on Difficult Messages. This compilation might represent a comparative toning down of the band’s extremes, but it doesn’t dilute their ability to evoke something unnerving, latching on to the underside of the every day. Slowing down and spacing out, if anything, allows that creepy sense of realisation to be experienced in higher definition.

Daryl Worthington

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16.

CromorneLive @ Raymond BarL’Engeance

A collective worth embracing is L’Engeance, based in Dijon and home to psych-folk quartet La Ruche and Cromorne, among others. On Cromorne’s Live @ Raymond Bar, hurdy-gurdy is present, played by Nicolas Virey – one-half of the duo – but its sound here is less abrasive, a rippling, psychedelic stream that flows throughout the nearly 18-minute ‘Comme Dans Les Films’, while Kévin Valentin provides a synth bassline and holds down a rolling drum groove. ‘Le Lieu Est Cool’ is a dreamy, drumless interlude before the drums and a driving, two-note synth kick in for final track ‘Ça Va T’es Jeune’. Addictive stuff wrought with minimal means.

David McKenna

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15.

Various ArtistsThe NID Tapes: Electronic Music From India 1969-1972The state51 Conspiracy

I’m stoked to hear this collection of early synth music made in the late 60s at the National Institute of Design (NID) in Ahmedabad, which has far more head-noddingly heavy pieces on it than you’d expect from early institutional synth experiments. NID had an electronic music studio containing an early Moog synthesiser, and this collection brings together work made there, by S.C. Sharma, Atul Desai, Gita Sarabhai, Jinraj Joshipura and I.S. Mathur, as well as one piece by David Tudor, who helped set the place up when he visited. There is much play in the sounds collected, notably in the mischievous manipulated voices and filtered laughter in one of Gita Sarabhai’s pieces, and there are a few heavy, noisy workouts too, including the David Tudor tape feedback piece that is, frankly, Pan Sonically dense and industrial, as is the rising tone of Jinraj Joshipura’s ‘Space Liner 2001 I’ and the deliciously clanging slow shred of I.S. Mathur’s ‘Once I Played A Tanpura’. S.C. Sharma’s work is all rhythmic bloops – both ‘Dance Music’ pieces are in a lineage with other solo synth experimenters like Mort Garson or Martin Bartlett, and over everything there is the comforting duvet of vintage fuzz to the warm Moogy pulses, that ripple and shift in melodic bloops.

Jennifer Lucy Allan

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14.

Various ArtistsSteven Wilson Presents Intrigue: Progressive Sounds In UK Alternative Music 1979-89Demon

DJs and compilers have leaned towards focusing, understandably, on the clear influence that dub, funk and free jazz had on what became tagged as post punk. Earlier this year, though, Demon released this outstanding corrective compiled by Steven Wilson. Seemingly aimed at an imaginary fogeyish and arms-folded early 70s prog bore living rent free in Wilson’s head, across 58 tracks by artists including Wire, XTC, Ultravox, Kate Bush and Cocteau Twins, the compilation painstakingly evidences how the ambitious and conceptual spirit of early 1970s prog quite obviously flourished on the other side of punk’s supposed hard border. At what point in the future might these genre distinctions about similar musicians making similar music in a similar geographic space fall away as historical signifiers?

Fergal Kinney

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13.

Sex SwingGrade A Peanut SauceSonic Whip

Grade A Peanut Sauce captures Sex Swing’s live set at the Sonic Whip Festival in Nijmegen, Netherlands in 2022. Standing in for usual saxophonist Colin Webster was Otto Kokke from Dead Neanderthals who can be heard blowing like a man possessed over the band’s fearsome kraut-psych-noise repetitions.

JR Moores

DatblyguTerfysgiaith 1982-2022Ankst

Terfysgiaith 1982-2022 is a two-disc compilation of songs selected by Datblygu’s David Edwards and Patrick Morgan, along with a third disc of live tracks, rarities and session recordings. It was to be a celebration of 40 years of the band, but Edwards’ sudden passing in 2021 means that it now exists as a fitting full stop to an incredible creative partnership that has left a mark on Welsh culture that will be impossible to replicate. While the days of Cool Cymru are now more than two decades in the past, Datblylgu’s legacy lives on during a new golden age of Welsh language music.

Leigh Jones

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11.

Sonic YouthLive In Brooklyn 2011Silver Current / Goofin’

It’s been another bittersweet year for Sonic Youth fans with both Thurston Moore’s memoir and this spectacular live album reminding the planet of the sorely missed band’s unrivalled art rock powers. Although it wasn’t public at the time, we now know the group was on the cusp of ceasing activities due to the end of Moore’s marriage to Kim Gordon, so the concert recorded here would turn out to be their final one on home soil. The setlist from that night is a treat because it eschews the hits (if that is what they can be called) in favour of deeper and darker cuts from the majestic back catalogue. This could be down to hindsight, to be perfectly honest, but Gordon sounds particularly, cathartically ablaze. After 30 years in the game, far from morbidly fulfilling contractual obligations with the end in sight, the band sound less burnt out than a freshly purchased multipack of Swan Vestas. Live In Brooklyn is a sobering reminder, then, that all good things must come to an end, even those which, at the point of termination, are still really bloody good.

JR Moores

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10.

Oleksandr YurchenkoRecordings Vol. 1, 1991-2001Shukai

Solo recordings of Oleksandr Yurchenko, made during the last decade of the 20th century, draw attention to how he experimented with sound and sought out new paths towards creative freedom. His drone symphony can be compared with the works of such avant-garde composers as Glenn Branca or La Monte Young. Listening to them now, retrospectively, I would also add a comparison to the music of Swans and Godspeed You! Black Emperor. Yurchenko wasn’t able to have his music released officially in the 90s and made only a few copies of these tracks for his friends. He was a forgotten figure for many years due to the lack of documented, officially released recordings. In the 2010s, he was asked for an interview but refused, already suffering from a severe illness. In April 2020, he died, leaving behind a great, if mainly unknown, musical legacy.

Like Valentina Goncharova, Yurchenko searched for sound in how he played and by constructing unconventional hand-made instruments. On Recordings Vol. 1, 1991-2001, the label Shukai once again unearths a forgotten (also for political reasons at the time) gem of the Ukrainian underground to a broader audience and broadens our perspective on the country’s experimental scene in the 1990s.

Jakub Knera

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Various ArtistsViva el sábado: Hits de disco pop peruano (1978-1989)Buh

This compilation takes its name from a music video programme that Panamericana Televisión broadcast between the 80s and 90s, which Buh Records founder Luis Alvarado says was a substitute for a nightclub at home, bringing colour to a grey reality where violence and anxiety dominated. Disco, heavily centered around the Iempsa record label, transitioned from a fascination with rock to an interest in tropical music and salsa. Viva el sábado is the most pop-oriented release yet in the Buh Records catalogue, which perfectly demonstrates the limitlessness of this label (as well as the beginning of a series of immersions into disco in Peru).

A great example of the turn from rock to disco comes from the brothers Saúl and Manuel Cornejo, who played in Laghonia in the early 1970s and later formed the band We All Together, inspired by British psychedelic and progressive rock. Taking advantage of the fashion for roller discos, they later formed Rollets and recorded the tracks ‘Patinando’ and ‘Lady Rock’ in 1980, where Saúl took care of bass, guitars, Hammond organ, piano and synthesisers, while Manuel played percussion and vibraphone, building a unique disco sound from live instruments. As a result, ‘Patinando’ is a proper boogie-era disco hit with a crisp beat and shimmering swirling keyboard parts, guitar and Malena Calisto’s endearing vocals. It was such a national success that the Cornejo brothers released an LP early the following year even though the fad for roller discos had passed.

Jakub Knera

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Les Rallizes DenudesCITTA’ ’93Temporal Drift

After years of consuming only lo-fi recordings, listening to CITTA’ ’93 is like the first gallery visit after a new glasses prescription, the first conversation after having your ears syringed. As you’ve never heard them before, Les Rallizes Dénudés sound spectacular, and this clarity adds another dimension to the band’s sound. Who’d have thought the greatest band of all time might still sound phenomenal when they aren’t just recorded and mastered like total shit?

‘White Awakening’ is the case and point here. Its first section sees the band sounding like a terse alternative rock group, not a million miles away from math rock, with lots of showy guitar licks presented in a tidy fashion, until, with a gratuitous stamp to his pedalboard, Takashi Mizutani opens Pandora’s box, unleashing torrents upon torrents upon torrents of messianic noise. What follows is total skronk, and a sea of reverb that would put MBV to shame, as well as some fretwork that would make John McLaughlin feel inadequate. Razortight motorik playing from Kodo Noma is the only thing that prevents a hellish descent into total chaos, on what is undoubtedly the best rendition of this classic number in the Les Rallizes Dénudés discography.

Cal Cashin

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Various ArtistsSynthetic Bird MusicMappa

There’s been a trend, since the onset of industrialisation at least, of people wanting to bring bird sounds into their homes. To hear their songs without having to, or perhaps being unable to, go out into the wild. In the 19th century, inventors such as Pierre Jaquet-Droz and Blaise Bontems built businesses developing and selling clock-work singing automatons. In the early years of the recording industry, it wasn’t possible or practical to make wildlife recordings. Instead, human imitators, virtuosic vocal artists capable of mimicking the sounds of wildlife, were brought into the studio. The most well-known descendent of this tradition, for a British audience at least, is perhaps Percy Edwards, but he was just one in a long, globe-spanning history of animal impersonators.

Synthetic Bird Music is as tied to this history as it is Handel and Vivaldi. It’s in how so many of these tracks sound artificial. They don’t disguise the fact they’re imitations but embrace it. Jonáš Gruska’s ‘Svitanie’, Vic Bang’s ‘Whizz’ and Ursula Sereghy’s ‘Kolibřík’ don’t hide the electricity and circuits behind their creation. On Ecka Mordecai and Malvern Brume’s ‘Pigeon Tones For Eggflute’, you can hear the human breath and a passing car, underneath the coos and wooden warbles.

Daryl Worthington

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Various ArtistsDisco Discharge Presents: Box Of SinDemon

Long term readers of this site will know how much Luke Turner and I adore the work of the label Disco Discharge. We ran one or two essays by Saturday Night Forever: The Story Of Disco author Alan Jones, heralding the launch of the original CD compilation series with such tantalising names as Pink Pounders, Cruising The Beats and Disco Exotica, before I interviewed original compiler Mr. Pinks himself. Over 16 compilations and a series of artist-specific reissues by the likes of Voyage and Tantra, a very pleasing aesthetic was unveiled, one that eschewed deathless northern soul-style obscurantism while avoiding any obvious rehash of mainly played out wedding-disco standards. Instead we were treated to a curatorship that was comparable to the extremely knowledgeable yet relaxed vibe that Soul Jazz brought to, say, their New Orleans and reggae compilations: putting wildly innovative tunes next to smash hits, with deep cuts next to evergreen standards. Finally after a gap of 10 years, the compilation series has been resurrected, the main differences concerning quantity and a temporal shift.

While the original series covered a lengthy enough period – its spiritual core could easily be located in the 1970s – A Box Of Sin is firmly ensconced in the full stretch of the 1980s. You now get five CDs instead of two, but with no noticeable decline in quality, just a shift in focus. Mark Wood, of Duckie residents Readers Wives, is the compiler but the spirit is the heart of the dance floor at Heaven. Early on, a thumping long version of the chart destroying ‘Jump (For My Love)’ by The Pointer Sisters rubs shoulders with the kind of club music that New Order and (future) Pet Shop Boys were clearly all over in the mid-80s such as ‘I Like You’ by Phyllis Nelson. The sequencing isn’t chronological, more designed to mirror the trajectory of a long DJ set; opening pop fare by Hazell Dean and Taylor Dane giving way to tougher beats and stripped down arrangements; booming synths and chanted refrains. In among crucial cuts by The Flirts, Divine (her barefaced but fabulous ‘Blue Monday’ rip ‘Love Reaction’) and Lisa is Man 2 Man Meet Man Parrish’s ‘The Male Stripper’ freshened up in its US club mix guise. Any compilation that can deploy a track as pulverisingly brilliant as the Non-Stop Ecstatic Dancing-mix of Soft Cell’s ‘Memorabilia’ and not flag afterwards deserves some kind of award.

John Doran

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Kate BushThe DreamingFish People

The Dreaming remains a terribly sad record. A treatise on “how cruel people can be to one another, and the amount of loneliness people expose themselves to”. Perhaps John Lennon’s murder and the dog-eat-dog ethos of Thatcherism had cast their shadow here. While the record was being made, the Falklands crisis escalated and unemployment rose. Many of The Dreaming‘s characters seem to be caught in the vice grip of western ‘civilisation’; the hapless robber in ‘There Goes A Tenner’, the aboriginal way of life on the brink of erosion on the title track, the Vietnamese soldier meeting his American nemesis on ‘Pull Out The Pin’. They may symbolise the tightrope walk Kate Bush felt she was embarking on with the record. But this dense and allusive stuff with twists and turns requiring as many footnotes as T.S. Eliot’s The Waste Land, shares that poem’s occidental disenchantment.

And like that modernist masterpiece, The Dreaming glimpses at a very metropolitan melancholy. Bush would never make an album in London again, a city she felt had an air of dread hanging over it. ‘All The Love’, a forlorn musical sigh, features percussive sticks imitating Venetian blinds turning shut. It climaxes with messages from Bush’s actual malfunctioning answerphone: all very modern alienating devices, straight from the same world of Bowie’s ‘Sound & Vision’. This was after all, the year Time magazine voted the computer as person of the year. Del Palmer’s ECM-like drowsy bass almost sobs with regret. Throughout The Dreaming, sound speaks. ‘All The Love’ is subdued relief. But its constituent parts hover desolately in the mix, pitching a ‘lack of love’ song with a choirboy, somewhere between Joni Mitchell’s road trip jazz on ‘Hejira’ and the void of Nico’s ‘The End’. Full of space and loneliness. At the centre of this creative storm is Bush.

Matthew Lindsay

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Mark JenkinEnys Men (Original Score)Invada

If anything, Mark Jenkin’s score for the film Enys Men is an even more minimal work than Bait‘s soundtrack, perhaps reflective of the former picture’s near plotless first hour. Most of the pieces here are assembled from just a few elements: a simple repeating drone, some found sounds and maybe a small fragment of speech. And so the opening ‘Enys Pt. 1’ is a ten-minute ambient drift that’s both ominous and serene. The cold coastal air seems to move through the piece, both in a recurring four-note motif and in the cavernous echoes that howl around in the background. Waves crash in the distance on ‘Menhir Pt. 1’, a shorter, sweeter track that captures a moment of uneasy calm. By contrast, ‘Hunros Pt. 2’, opens with a playful, burbling melody reminiscent of early Aphex Twin, before what sounds like a chorus of abandoned ice cream vans join in the fun.

It is a meditative and, in its own odd way, soothing record, but Jenkin has sequenced it to stop you from getting too comfortable. Some of the noisier moments, ‘Hunros’ and ‘Bleujen’ particularly, recall the haunted audio of Drew Mulholland’s albums for the Castles In Space label, all rapidly decaying tape loops and snatches of intercepted AM radio. A sudden burst of static and a MAYDAY call for help at the end of ‘Menhir Pt. 1’ is jarring enough to make you leap out of your seat, while the two ‘Jynnji’ tracks alternately clatter with the tools of long dead miners and reverberate with the pounding of something massive at work deep beneath your feet.

Will Salmon

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Mykolaiv SingersWinter Songs, Wedding SongsPurge

I’ve been waiting for this project to emerge for a few years. It was started before Russia’s full-scale invasion of Ukraine, but since then, the Mykolaiv region of Ukraine has suffered enormously, so this is now a very different album than was originally intended. In the context of now, it becomes a document of people and their songs under threat; a more significant document because it contains something that has been damaged to a yet unknown extent.

It collects recordings of various unaccompanied singers and groups from the 1980s through to 2012 – Mykolaiv Singers are not one group, but rather the collective name for all those recorded here – sourced by Tetiano Chukno, and featuring songs about weddings, seasons and lyrical poetry. For my next book I’ve been reading a lot by, and about, archaeologist Marija Gimbutas, whose work focused on southeastern Europe. She thought that some of the folk traditions that exist in the present might bear traces of our most ancient past, and while listening to these songs sung in full voice I thought about how far back some of the seasonal winter songs might run – songs about bread, green groves and birch trees, songs that still have a bearing on the present in more ways than one.

Jennifer Lucy Allan

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Arthur RussellPicture Of Bunny RabbitAudika

A Picture Of Bunny Rabbit may not be an obvious revelation for those already familiar with Arthur Russell’s World Of Echo, but it’s as if this singular, unfathomable place has become more vast, or perhaps that new depths have been uncovered. Mere moments into ‘Fuzzbuster #10’ and we’re back there, all cello scrapes, pulsing keys and aching wail, while the picked guitar notes on ‘Fuzzbuster #06′ and ‘Fuzzbuster #09’ add a gently unfamiliar element to the equation, like a private communion being made with The Durutti Coumn’s Vini Reilly. It might seem odd that Russell’s most radical period is so bone-bare, such slight embellishments, but he’s clearly working at some kind of foundational level, blurring the distinction between confessional song, Buddhist mantra and minimalist exploration, right down at the roots. Watch him perform this material and you see a man enraptured, caught in the quiet intensity of a trance.

The title track is the least familiar thing on here, like a glitched-out premonition of Oval’s 94 Diskont, any sense of formal cohesion torn apart in a manner akin to The Caretaker’s Everywhere At The End Of Time series. Russell is an explorer who doesn’t want to conquer, but be humbled by his discoveries. Much of the album is song-focused, albeit borderless songs that drift between states, no verse-chorus-verse etc. Russell’s voice is often subsumed, or lost in echo logic. Bob Dylan may not seem like an obvious kindred spirit, but the two artists share an obsession with the idea of their songs as constantly evolving entities, ripe for rework and recontextualisation, or, in many cases, to be reshaped beyond recognition. Closer ‘In The Light Of A Miracle’ has existed in many forms, as has much of Russell’s work. You see this as a reflection of Russell, the forever displeased perfectionist, but then again in jazz, folk and blues you have the standard, so why not treat your own material in that same sense, as something malleable, unmoored and free-floating.

Eden Tizard

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Dorothy CarterWaillee WailleePalto Flats / Putojefe

The sound of a zither or a psaltery or a dulcimer – a wooden-bodied, finger-plucked or hand-hammered, fretless instrument, often held in the lap or manipulated near to the body – can provoke a bracing, often spiritual sensation in the listener. Where does that come from? Is it because of powerful albums like Laraaji’s Ambient 3: Day Of Radiance, PJ Harvey’s White Chalk or Jean Ritchie’s The Appalachian Dulcimer? Is it about the survival of these old, fragile instruments as we shift into an increasingly digital world? Or is it about the contact of a fingernail or soft skin with thin metal or gut, and the noise this startling connection produces, a sound that ultimately vibrates in a body held tightly and tenderly by the performer to his or her own, or is manipulated carefully by touch?

For me, it’s all three. A resonant, historical imagination always trembles in recordings of these distinctive, usually handmade instruments, and on Dorothy Carter’s Waillee Waillee, oceans of feeling oscillate, undulate and reverberate after only a few bars of track one. This is partly about the way Carter’s instrument is played – she creates patterns of repetitive shiver rather than shimmer, at the ends of phrases or through whole melodies, often on top of heavy drones played on bowed chimes and steel cellos – but also because the initial sonic hit has a tough edge, cutting and slicing through the surrounding silence like a knife, before shaking all over. There is so much to revel in, to be stunned and staggered by in this astonishing record, but when Carter’s sound is indistinguishable from the sound of her instrument, when her vocal chords and her hammering hand become one, tightly and tenderly, the bracing, spiritual sensation is enough to make me believe in anything.

Jude Rogers

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The Quietus Albums Of The Year 2023

1: Lankum – False Lankum
2: PJ Harvey – I Inside The Old Year Dying
3: Teeth Of The Sea – Hive
4: La Nòvia – La Baracande
5: John Francis Flynn – Look Over The Wall, See The Sky
6: Musta Huone – Valosaasteen sekaan
7: Khanate – To Be Cruel
8: Abstract Concrete – Abstract Concrete
9: Danny Brown – Quaranta
10: Mariam Rezaei – BOWN
11: Shit And Shine – 2222 And Airport
12: The Inward Circles – Before We Lie Down In Darknesse
13: Brìghde Chaimbuel – Carry Them With Us
14: Slauson Malone 1 – Excelsior
15: Rắn Cạp Đuôi Collective – *1
16: PoiL Ueda – PoiL Ueda
17: Bill Orcutt – The Anxiety Of Symmetry
18: La Tène – Ecorcha / Taillée
19: Surgeon – Crash Recoil
20: Babybaby_explores – Food Near Me, Weather Tomorrow
21: Philip Jeck & Chris Watson – Oxmardyke
22: L’Rain – I Killed Your Dog
23: Shirley Collins – Archangel Hill
24: Lost Girls – Selvutsletter
25: Annelies Monseré – Mares
26: Gazelle Twin – Black Dog
27: Moundabout – An Cnor Mór
28: Apostille – Prisoners Of Love And Hate
29: MC Yallah – Yallah Beibe
30: James Ellis Ford – The Hum
31: Lunch Money Life – The God Phone
32: Nabihah Iqbal – Dreamer
33: Lisa O’Neill – All Of This Is Chance
34: UKAEA – Birds Catching Fire In The Sky
35: Hey Colossus – In Blood
36: Alexander Tucker & Keith Collins – Fifth Continent
37: Yaeji – With A Hammer
38: Aho Ssan – Rhizomes
39: Benefits – Nails
40: Nuovo Testamento – Love Lines
41: Kelela – Raven
42: Babau – Flatland Explorations Vol. 2
43: EP/64-63 – EP/64-63
44: ØXN – CYRM
45: Sleaford Mods – UK GRIM
46: JAAW – Supercluster
47: Skull Practitioners – Negative Stars
48: Raphael Rogiński – Tálan
49: Polobi & The Gwo Ka Masters – Abri Cyclonique
50: Enola Gay – Casement
51: Matana Roberts – Coin Coin Chapter Five: In The Garden
52: Bell Witch – Future’s Shadow Part 1: The Clandestine Gate
53: Algiers – Shook
54: O Yama O – Galo
55: Ruth Anderson & Annea Lockwood – Tête-à-tête
56: KMRU – Dissolution Grip
57: Mendoza Hoff Revels – Echolocation
58: Fever Ray – Radical Romantics
59: James Holden – Imagine This Is A High Dimensional Space Of All Possibilities
60: Billy Woods & Kenny Segal – Maps
61: Noname – Sundial
62: a.P.A.t.T. – We
63: Natalia Beylis – Mermaids
64: Cassandra Miller – Traveller Song / Thanksong
65: Pigs Pigs Pigs Pigs Pigs Pigs Pigs – Land Of Sleeper
66: Sourdurent – L’Herbe De Détourne
67: Flesh & The Dream – Choose Mortality
68: TORPOR – Abscission
69: Årabrot – Of Darkness And Light
70: Sparks – The Girl Is Crying In Her Latte
71: Yfory – Yfory
72: Mozart Estate – Pop-Up! Kerching! And The Possibilities Of Modern Shopping
73: Synthfreq – Vol. 1
74: Nihiloxica – Source Of Denial
75: House Of All – House Of All
76: One More Grain – Modern Music
77: Colin Stetson – When We Were That What Wept For The Sea
78: Nicky Wire – Intimism
79: Jellyskin – In Brine
80: Reverend Kristin Michael Hayter – SAVED!
81: Kevin Richard Martin – Black
82: Yossari Baby – Inferiority Complex
83: Zhao Cong – 55355
84: Stephen O’Malley & Anthony Pateras – Sept duos pour guitare acoustique & piano préparé
85: Spirit Possession – Of The Sign…
86: KASAI – J/P/N
87: Godflesh – Purge
88: Anjimile – The King
89: Moussa Tchingou – Tamiditine
90: DeVon Russell Gray / Nathan Hanson / Davu Seru – We Sick
91: MXLX – Saint
92: Maxo – Even God Has A Sense Of Humor
93: Dodo Resurrection II – A Treatise On Ceremonial Magic
94: The Stargazer’s Assistant – Fire Worshipper
95: Rezzett – Meant Like This
96: John Zorn – Homenaje A Remedios Varo
97: ANOHNI And The Johnsons – My Back Was A Bridge For You To Cross
98: Oozing Wound – We Cater To Cowards
99: Niecy Blues – Exit Simulation
100: Call Super – Eulo Cramps