It starts with a bang. Then a barrage of DJ tags, sampled vocals, and drum rolls carry us into a sea of ambience. This is the Los Thuthanaka experience in summary: ceremonial but swaggy, cataclysmic but healing, unrefined but magnificent. And these are the paradoxes you are confronted with immediately upon hitting play: A dizzying reorientation to the possibility of what music can or should sound like.
The monumental self-titled debut from siblings Chuquimamani-Condori and Joshua Chuquimia Crampton taps into the elemental practices of making music. The latter has described their work as striving to bring out “as much as possible from seemingly very little.” The “seemingly” is key, as in his hands, every note is an infinite portal.
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For over a decade, the Sound Mapping series has traced the evolving landscapes of experimental music across the globe. This chapter turns its ear to Australia, a continent whose sonic expressions are as vast, isolated, and idiosyncratic as its geography. The artists featured in this compilation explore a wide terrain of auditory possibilities, from shimmering drones and granular textures to fractured electronics and abstract field manipulations. There’s a rawness here, a certain openness to the sound, perhaps born from the distances that separate cities and scenes, or from the continent’s deep temporal layers of presence and absence. These works seem to breathe with a spatial consciousness, attentive to both the expanse and the minutiae of sound.
Through her mysterious confessions of feminism, sex and self-discovery, California singer-songwriter 
Some musicians need just the right instruments to create. 
It is always a tricky thing for artists to hinge their music on field recordings and use of found sound, particularly when you try to weave them into the sounds they composed.
While it might be a ridiculously huge stretch to say that Chris Stamey has collaborated with every great musician on the planet, he’s certainly made the rounds in the indie universe. His connection to Big Star and Television are the first resume items of note. In the 1970s, he recorded with Richard Lloyd, played bass for Alex Chilton and later released Chris Bell’s “I Am the Cosmos”/“You and Your Sister” single on his Car label.
…Milwaukee’s 
The Making is an extremely well-produced album, the result of collaboration between 
“No pulses/ No function/ No flexor/ No extensor/ No movement.” This is how 
Having spent the last couple of years quietly building a cult following through electrifying live shows and genre-teasing singles that flirted with surf pop, Krautrock and garage-pop, Chaos Era is the long-form statement that Nottingham psych-pop collective 
Dance producer 
The great success of Lankum, and their producer John “Spud” Murphy’s ubiquity across the sonically radicalised new Irish trad scene, can make it seem as if Ye Vagabonds, ØXN, John Francis Flynn and co comprise an essentially single entity, passing through Murphy’s studios for ocean-deep overdubs as centuries of lyrical heritage are challenged and channelled through doomy, bestial drones.