Hussy - "Slayer"

On “Slayer” London-based Sophie Nicole Ellison creates a tension-filled guitar-scape that pans between Sonic Youth at their most melodic – weeping lines dipping in and out of each other, taking up space in the jagged corners of angular indie rock – and the heavy, buzzy shoegaze choruses of Lush or Drop Nineteens. A weird headspace isn’t a pre-requisite for enjoying these two elastic modes, but it certainly helps order them in a workable blueprint for how to get through your day.


Cote - "Restoration"

There is a way Taryn Randall’s voice tarries, or slightly wavers on “Restoration”, the multi-syllabic centre-piece of this song, that seems to belie the fact that any sort of restoring to be had is a done deal. It’s an unadorned acoustic guitar melody paired with sparse but expressive twinned guitar licks floating somewhere in the ionosphere and somehow just below COTE’s breathy, dynamic voice. Whether lilting over a few extra vowels, or flattening into a sturdy, flinty expression of weariness and wonder.


sen wisher - "holding pattern"

The Eugene, OR by the way of Provo, UT multi-instrumentalist and songwriter, Ben Swisher’s project recalls the best tendencies of those years in the late 00’s when indie-rock bands swung for the rafters creating knotty and carefully composed pop songs – crafting melodies outside that wormed their way in and out of arrangements that embraced drawn out and multi-part compositions. Sen Wisher channels some of the best of that stuff: DM Stith, LAKE, Paper Airplanes – while wrapping his inherent tunefulness and upper-register vocals around tightly composed parts for guitar, woodwind, strings, brass. This is nice, but do I want to see every band tour with eight members and a god-damn timpani drum again? Fuck, no.


“Renaissance” is a track that easily recalls Stereolab, Broadcast and Serge Gainsbourg in the same breath. Blending midi choirs (my favorite kind of choir) vintage analog synths with organs, upright bass and prepared piano, this strange soundtrack to never-filmed movie is pulled through the needle’s eye with a idiosyncratic propulsion and mystique all its own.

Machinefabriek - "III (with Peter Broderick)"

I don’t have to be talked into immediately listening to a new Machinefabriek piece. With Voices, promises to be a bit of a different animal. Machinefabriek’s compositions of channeling frequencies, tones and disembodied ghosts from dead machines will be the undergirding of his collaborative work with vocalists Peter Broderick (featured on this song), Marissa Nadler, Richard Youngs and Terence Hannum (Locrain). This is a truly stunning cast of characters whose unique vocal inflections work to both obscure and humanize Rutger Zuydervelt’s stately and austere drones and sound generation.

Poor Colour Palette - "Manufactured 1935"

Sinking into this composition is an easy act of submission. The Scottish artist utilizes the mechanical sound of the piano and Hammond organ to create ghostly doubles of the beautiful and emotionally resonant piano compositions they make. Deadened action from an ancient organ undergird the pitter-patter of upper register piano lines that flutter above and outside the periphery. It’s a pitch-perfect soundtrack to falling snow and inclement weather.


surrogate sibling - "vert"

Riding a fine line between neo-classical chamber music and understated and melancholic pop, the German composer pairs mournful strings and slightly propulsive piano compositions atop the gentle pattern of electronic percussion. The faraway crackle of distortion on a clean bass hit resounds somewhere in the distance while a ruddy, elegiac violin swoops into the middle distance. It’s a stately and contemplative track that seems to exist in between a lot of things: modern composition and modern pop, sleep and wake, dusk and night.

Cuts  - "Time is not your friend"

Creating widescreen compositions from a deep interplay between field recordings (ice cracking under foot, ice shelves shedding and receding into a warming sea) and heavily processed synths and percussion, UK-based Anthony Tombling, JR. has created something that feels prescient and as pressing as a rapidly warming planet should feel upon us. Those huge percussion hits overtop cracking ice pack an emotional and political wallop in their sound architecture. Channeling Ben Frost in those finely attenuated lines between the digital and natural world, CUTS has created a dread filled soundscape to match our own dread-filled world.


Friday, November 16th, 2018 | Add New Comment (0)
Episode 045 is for the heads. Heavy psych rock from Headroom, Ttotals, More Klementines and Dire Wolves, spastic noise-rock from Complainer and Period Bomb. We move into dark pop with Samantha Glass, Unicron and Reighnbeau before dropping some hard techno with JRM, Dotson and Manville Heights.
As always thanks for listening and if you want to support the podcast head over to for exclusive mixes, interviews and discounts on featured labels.
Our sponsoring label this month is Nara, Japan's excellent Muzan Editions. Check out their bandcamp page for some beautiful tunes from a diverse roster.



Ttotals - Skyview Drive (Great Ape Records)


More Klementines - "I. (excerpt)" More Klementines (Twin Lake Records/feeding tube)




Period Bomb - "222" Lost & Found (Already Dead Records)


Samantha Glass - "putting the male to rest" Nine Memories Between Impression & Imprint (Holodeck Records)











Manville Heights -  "yellow sweater" The Future was Yesterday (Ingrown Records)

Tuesday, November 13th, 2018 | Add New Comment (0)

Midwife - Like Author, Like Daughter (Whited Sepulchre Records)

Whited Sepulchre Records is proud to announce that we are repressing Midwife's 2017 album "Like Author, Like Daughter". Sold out after a few months of its pressing, Whited Sepulchre reissuing the album with extended liner notes, T-Shirt and a split cassette with Planning for Burial. Shipping included.

Pre-order: 11.09.18

Album Release: 01.11.19

About the album: Under the name Sister Grotto, Denver based artist Madeline Johnston explores the limits of minimalism in transcendental drone-pop. With "Like Author, Like Daughter", Johnston uses the Midwife moniker to craft triumphant, fist-in-the-air anthems that tackle themes of dislocation and falling in (and out) of love with a person, a home and yourself. 

"Like Author, Like Daughter" is a portrait of Johnston’s last year as a resident of Denver’s famed D.I.Y venue Rhinoceropolis which closed in a rash of politically motivated assaults on creative spaces across the United States. The album internalizes loss, addiction, abandonment and wrings them through distorted power chords, powerful leads, sheets of drone to create building, aching monuments to past-selves and lost relationships into a positivist statement of resilience and self-love. It’s a record that is impossible to listen to without a lump in your throat. 

Performed, recorded and co-produced by Tucker Theodore (Buffalo Voice, Gunmothers Head), "Like Author, Like Daughter" was recorded in Denver at Rhinoceropolis and INAMBULANCE in Olympia, WA. LA,LD will be released with companion split cassette with Planning for Burial. 

Pre-Order Here:

Friday, November 9th, 2018 | Add New Comment (0)


Shon's "Nightwalk" is full of gentle pulls of shifting tones that sound as if they are suspended by string. Each one brightly overlapping each other as the timbre reaches its full expression and slowly recedes into the night. Or, to mix metaphors here, each tonal arc a street light glimpsed out of the passenger seat of a slow moving car at night. Breath creating spiderwebs of condensation against the thick glass. Either way, this passage is breathtaking in its simplicity.

Nylenda - "Fires Light" 

Sounding like Lindstrom taking up residency with LCD Soundsystem, the Norwegian trio known for their completely analog approach to creating swirling pastiche of Madchester psych rock and heavy Kraut influences, push this aesthetic to its fullest potential in “Fires Light”. The song clocks in at 6 minutes, but sounds like it could take off at any moment pushing this into the realm of a 20 minute freak out. Which, to be honest, would be absolutely perfect.

The Sun Aesthetic - "Holly"

When it gets to be this time of year and the leaves start falling, I become even more of a sucker for these electro-acoustic arrangements where every beat sounds birch-twig sharp, bells chime in empty pockets of sound every melody sounds propulsive in some sunlit and ascending trajectory. The Sun Aesthetic follows a through-line of artists like The Album Leaf, The Lymbyc Systym, Arms & Sleepers merging live percussion and piano with electronically augmented beats and heavy synths. Wonderful stuff if you can relate with any of the above.

Colurer - "The Morning After You Passed"

Following the sickening gut-punch of news when you find out someone close to you has passed there is this eerie silence where everything around you seems to be held in some kind of stasis. “The Morning After you Passed” soundtracks this moment with startling accuracy. Quiet strings, just above the threshold of hearing seem to quiver in mid-air before being joined by a prodding piano line, horns, an elegiac violin line. What I love about this track is that it never seems to build into any kind of crescendo, rather just hangs in mid-air like an ever-present cloud of grief.

Palm Haze - "Wildflower"

“Wildflower” is that perfect little slice of shoegaze heaven where everything is fuzzed out and buzzing with exquisite sadness. The young Canadian duo stretch this aesthetic into a 9-minute track that spirals from clean guitar playing with floating, ethereal vocals right into explosive, reverb-rich rippers that achieve release from the earth’s gravitational pull for a hot minute. Palm Haze has a strong ear for what makes the classics so irresistible and an uncanny sense of when to ease off and when to floor it.

Leon Louder - "Flashes"

The Canada-based Leon Louder has created a stunningly complex work of HD percussion that seems to ping-pong off each other, gather only to burst apart and follow a pachinko-led course from first thought to carefully sculpted output. While not as aleatoric as Seth Graham or Oneotrix Point Never, “Flashes” still maintains that sense of barely controlled chaos where repeated listens illuminate avenues of melody and internal logic that don’t immediately jump out. It’s a heavily percussive track that rewards deep listening.


Whettman Chelmets - "You are Still Alive"

"You Are Still Alive" is an achingly beautiful drone-heavy track that climbs in additive measures through processed guitar lines that reach the rafters. It is difficult to imagine compressing any more sound through the track's volume-intensive crescendo. If you are a fan Tim Hecker's early work Swans dronier work, Whettman Chelmets's track will leave a mark. 

 R. Seiliog - "Opal Drift"

The U.K. based R. Seiliog has created a tonal drift of a track that tracks a steady passage through ambient-techno muted percussion and synth lines and washes that sneak in from the periphery until they make up the song's gossamer bone structure. Latticing out towards the center, picking up bits and fragments of beats spawning like single-cell organisms. "Opal Drift" eventually finds the beat bursts wide open revealing a busy world of mutated analog and digital sounds. 

Friday, November 9th, 2018 | Add New Comment (0)

I chat with Covington, KY-based artist Pete Fosco about early musical memories, Early 00's CD-R finds and answer the ultimate question: Garth Brooks vs. Chris Gaines. Pete is the ultimate in "what's a nice person like you doing in a genre like this?". 

November Sponsoring Label - Muzan editions

This month's podcast is sponsored by Muzan Editions. Follow the link below to TTTWM's Patreon Page to receive an exclusive, hour-long mix by Muzan Editions and a discount on Muzan Editions releases. 


Monday, November 5th, 2018 | Add New Comment (0)

Macro/Micro - "Composition 2 pt. 2 (Black Hole Experience Report) The End of Light

Macro/Micro - a performance name of Tommy Simpson out of Los Angeles - was born out of a toweringly ambitious multi-media project that took place in Almaty, Kazakhstan where the life, works and bizarre theories of Sergey Kalmkov were brought to surreal reality. The End of Light is Simpson's soundtrack to the bizarre art happening. Broad ambient brushstrokes, bells and drones seep in through shadows creating pin pricks of light in an otherwise dark and creatively restless mind. 

Loui Martz - "Tech Sauce"

Hard techno beats underscore classic House vocals in an undeniably danceable track. The young Mexican musician has a deep ear for golden era techno as well as a nod to weirdo revivalists like CFCF and dance unit provocateurs BOAN. An exercise for your body and a hard flex for your brain. 

Aoi - "Natural Pain"

Highly infectious synth-pop from the Phillipines. Auto-tuned vocals that recall artists like Emily Reo or Kero Kero Bonito slowly introduce the song's center-piece a soaring, anthemic dream-pop chorus that blooms and bursts apart in a million different directions at once under the influence of a simple three-note pattern. It's brilliant. 

J. Brooks Rice - "Curve" Sequel

"Curve" is all oceanic swells of tone coaxed from manipulated hardware bent into otherworldly beauty. This Columbus, OH based artist lets this track find its breath in towering stacked tones and painfully gorgeous exhales of electric circuits singing to each other. Highly recommended.

Elskavon & Jameson Nathan Jones - "Still as Troubled Waters"

Uncovering entirely hidden worlds out of Jameson Nathan Jones acoustic piano source material, Elskavon shapes and twists these tonal structures uncovered within the piano's compositions through applying modular effects and editing them to the point, while far from being unrecognizable, are imbued and leavened by manipulated tones. It's a sum's more than its parts type of composition.

Michele Baldi - "Hwl"

One of the most straight forward and beautiful solo piano compositions I've heard in some time. There is a slight fluttering of hesitation between passages from the Italian pianist, a split-second nod to compositional decisions before a flurry of notes catch and arc over one another, sending another crescendo skyward, all glinting and full of light.

Antonis Pratsinakis - "Blueroom"

Antonis Pratsinakis is an accomplished cellist from the Netherlands. For "Blueroom" Pratsinakis approaches the cello composition like a mixing board. Coaxing electronically modulated sounds from just about every crevice of the instrument's hollow body, Pratsinakis's work draws huge synth overtones from manipulated pulls of the bow, electronic percussion and lines that skirt the periphery of experimental electronic composition and post-rock. 

Tuesday, October 30th, 2018 | Add New Comment (0)

With a focus on experimental folk music being stretched into new and exciting shapes, the 44th episode of the podcast explores the outer bounds of synth compositions, American Primitivist and prepared acoustic guitar work and expertly done ambient music. I hope you enjoy this episode as much as I did putting it together. As always, if you want to support the podcast, feel free to visit our Patreon page and get exclusive interviews, mixes and discounts on record labels. 

Shells - "Another Time (excerpt)" Another Time (Unifactor)

Shelly Salant's solo work under the moniker Shells has really coming into a beautiful place as of late. A member of several Detroit-based rawk bands (Tyvek, Saturday Looks Good to Me), Salant's solo guitar musings float in and out of hazy memories and lucid dreaming. With just enough reverb over top to keep all past notes in suspended animation, her inherently emotional work hits on raw nerves and unsuspecting left-turns.


This tape has been a constant companion to me. It sounds just off-the-cuff enough to sound like you are stumbling upon some private conversation between two friends and expertly played and recorded enough to display two musicians enjoying the rich transitory power of deep familiarity with their instruments. Rob Frye (CAVE, Bitchin Bajas) and Matt Schneider (Moon Bros) leap from deeply studied American Primitivist guitar to modular synth explorations to florid, improvisational back porch strummers.



It's hard to know what is peak Tashi Dorji, but his latest for Moone Records could be getting pretty close. It's a patient, twisting and turning journey into complex tonality and lyrical lines that composed non-linearly. The mood of contemplation, deep angst and resilient wonder hold a through line between Tashi's prepared tonal mutations and lines bent just enough to hold over the track like a tropical depression, weeping without end in sight. I left this one un-edited because it offers no mid entry point. It's meant to be taken in wholly, without interruption.

High Aura'd - "If i'm walking in the dark (excerpt)" If I'm Walking in the Dark, I'm Whispering (Unifactor)

John Kolodj's solo and collaborative work is of the utmost highest order. On his latest for Unifactor, the Ohioan folds glowing and throbbing drone through his highly expressionistic guitar work. Hitting some fantastic middle ground between American Primitivist and forlorn Midwest Blues, "If I'm Walking" builds and builds until a clean break is anticipated and delivered. Wading into the B-Side of the tape finds a continued exploration of heavy drone and unadorned piano venturing into the night.


Tanner Menard & Andrew Weathers - "Whole Face (excerpt)" Wanna Live in a world w/a whole face (Full Spectrum Records)

Although I had to trim Andrew Weather's beautiful drone intro and dropping us in shortly before Tanner Menard's gorgeous spoken word piece, we get a sense of how this collaboration feeds off a creative spark that seems to have caught fire by the end of this incredibly moving, utterly unique piece of work. It's almost unspeakable how good it gets towards the natural crescendo of voice and drone. Holy moly.

Saloli - "Reverie" The Deep End (Kranky)

The Deep End is an amazing debut from Portland-based synth artist Saloli. With no overdubs or post-production, "Reverie" could work as a solo piano composition but truly comes alive with Saloli's attention to tone. Inspired by 19th and 20th century avant-garde composers, "Reverie" responds with a sense of immediacy and bracing closeness. 

Andrew Tasselmyer - "Number 1" Tines (Flag Day Recordings)

Created by recording the inner workings of a gutted Fender Rhodes, Tines captures the  mechanical action of the piano as a percussive instrument. Everything from the high noise floor to the melodic drones Tasselmyer is able to coax out of blunted mallets on strings, feels incredibly close. Known for his solo work which melds field recordings with gorgeous drones as well as his work with Hotel Neon, Tasselmyer has an ear sounds that are pre-existing and waiting to be discovered.

J Butler - "Theme" Found (Self-Released)

So much great work has been created by slow moving guitars and oscillators when matched with careful attention to location and room tone. Pittsburgh-based J Butler falls into this tradition with his latest offering Found. Distorted guitar melodies hover in and out of  faintly oscillating volume swells to create a sense of tectonic motion.

Conrad Burnham - "Two Wicks" Granular Cinema (Tingo Tongo Tapes)

On the LA based artist's latest work, "Two Wicks" creates dizzying worlds-inside-worlds of crystalline synths creating simple patterns beneath a low cloud cover of drones that always seem to peaking. Always just a bit over-the-red keeping a great deal of grit in the audio field in what is a menagerie of glassine and otherworldly tones.

Monday, October 29th, 2018 | Add New Comment (0)

I had the opportunity to sit down with Thomas Meluch aka Benoît Pioulard following his performance with Glenn Jones during the Columbia Experimental Music Festival. In our conversation (recorded in the beautiful Firestone-Barr chapel on Stephen's College campus, we talked about early musical experiences, formative songs and music videos and streaks of prolific creativity following an immense personal loss. Benoit Pioulard's latest record May came out earlier this spring. Check out the interview below.

Wednesday, October 24th, 2018 | Add New Comment (0)

Julian Alfombra - "Renaissance Boys"

Julian Alfombra buries lullabies of queer angst underneath miles of reverb and shoegaze production. Deep drones and major key updrifts against the driving snow of thick synthesizers with the occasional flurry of crystal clear arpeggios and the flutter of a harp against the glistening black. Great find from Northeast UK.

Mattia Cupelli - "Lost"

Gorgeous and ebuillent neo-classical that centers itself around motifs that seem to be constantly dovetailing in and out of each other until they find a beat about halfway through the track in which a steady 4-4 marshals them around a lilting piano and processed electro-acoustic instrumentation. "Lost" reaches a crashing, string heavy crescendo of distortion-heavy waves of noise heaving themselves beyond the bounds of this track.

Kin Hana - "The Wolf"

Kin Hana channels huge, tectonic movements of sludge-metal riffage and otherworldly atmospherics through a strange drone-pop filter that picks up on the inherent foreboding but skimps on the nihilism embedded in true practitioners. The result is closer to Earth meets Band of Horses, or Mount Eerie's fascination with Black Metal. Two major movements are broken up by a slight foray into atmospheric drone and left-field piano glinting brightly beneath the surface. It's a pretty breathtaking track that balances the darkness and light with wind-up bird balance.

Haruhisa Tanaka - "Sinker" 

Haruhisa Tanaka, an ambient artist from Japan, starts "Sinker" off of the album Touch with what is objectively one of the best sounds of all time - an arpeggio filtered and manipulated to the point where it sounds like it you are hearing it through a busted eardrum. Panned back and forth to create a woozy sense of closeness, Tanaka poises perfectly the placid and understated beauty of this effect with a floating sense of unease. It's a gorgeous juxtaposition on an even more gorgeous record.

Hauschka - "Curious" A Different Forest

Hauschka's deeply impressionistic and soothing work on "Curious" reveals a rich playbook that the the German neo-classical pianist has been working from for quite sometime, although most recently he has gained prominence for his propulsive prepared piano work that calls out the inherent percussive nature of the piano itself. "Curious", however, unfolds like a time-lapsed image of a tree budding and then shedding its leaves. Seasons being the only reliable time markers when everything else is in flux.


Amparo - "Oakwood" Palm House (Modularfield recordS)

Amparo has created an impeccibly beautiful guitar composition on "Oakwood". Looped passages by themselves rarely accumulate meaning when the source itself isn't something that demands repeated listening to fully soak up the beauty the first time. The looped passages on "Oakwood" by themselves are stately, simple compositions that after ping-ponging off each other and later augmented by the light touch of strings, burst to life as something much greater than their individual parts. This song took me by surprise and I look forward to hearing what other worlds she is able to create with sparse arrangements and obvious attention paid to timbre and timing.

Tuesday, October 23rd, 2018 | Add New Comment (0)

Patricio García - "Monotone Talk"

In an ever increasing need to scramble to the top of the heap of content upon content, everything we hear - from politician's speeches to pop music - is increasingly built upon a wobbly platform of reheating familiar patterns as a means of having something to say instead of spending the time to create something original. This idea, of course, has been thought-pieced to death. The Argentinian composer Patricio Garcia's exploration of repetition to the point of nonsense and banality is put on center stage on "Monotone Talk". Using samples upon samples, Garcia creates a propulsive, maddeningly complex track that retains the urgency and energy of rock and roll's most unbridled promises sans guitars or drums. "Monotone Talk" places him among bands like Battles and Liars building towering rock anthems from heady ideas and the primal energy of repetition.



For INTERFACES, Jeff Morris has concocted a prescient group that explores the boundaries of what can be considered jazz - piano, percussion and laptop. Rather than shoehorning's Morris's work as an experimental electronic musician into the mix of a standard jazz trio by electroacoustic accouterments, Morris acts as a conduit or on-the-fly-editor, shaping and squeezing these sounds through a bevy of digitally manipulative tactics until the birth on the other side is both true to the tone and texture of Karl Berger and Joe Hertenstein's piano and percussion but miles away in terms of listening experience. 

Dire Wolves - "Unfettered and Alive" Paradisaical Mind (Feeding Tube Records)

I was really excited to hear new work from Dire Wolves. Representing the a spirit of psychedelic depth-plumbing that never really died away in San Francisco, the free-rock band gets immediately into some pretty heady territory on "Unfettered and Alive". Spindly guitar lines weave themselves into ouroboros designs around exploratory fiddle and vocals that push past well-worn searching and enter into some kid of pre-cog field of unwritten communication. Plus, members of Lau Nau, Spires that in the Sunset Rise and Jackie O-Motherfucker - some of the most "for the heads" acts of the mid-00's lend their talents to this beautiful endeavour. 

Blackhill - "A Farewell to a Child" 

There's a dark light shining through the Pula, Croatia based post-punk band Blackhill's "A Farewell to a Child". Augmented vocals haunt this track, from the wailing disembodied female wail behind the chorus to the omnipresent pitch-shifted monastic hum running throughout. These vocals are paired with sharp strings cutting through a glitching, self-destructing electronic miasma of HD percussion splattered all over the stereo field. What was once a patient build up turns into a gripping combination of unwieldy Amnesia Scanner beats and swelling classical motifs. It's a journey.

Lifestyles - "Wail" Split EP w/ Meat Wave (No Trend Records)

Taking cues from the locked in minimalism of The Wipers and Flipper and the pure maximalist everything-in-the-red aggression of modern acts like IDLES or Vacation, Lifestyles steers this bus of carefully composed destruction into huge post-grunge rave-up choruses and shout-along breakdowns. Hanna Hazard takes her wail into vocal chord shredding territory narrating the imposed isolation and bad-faith relationships of groups like Scientology. "Wail" is the lead single off their 7" with Chicago rippers Meat Wave.

Alexandra Stréliski - "Overturn" Inscape (Secret City)

Following several acclaimed scores for television and film that explored the damage the HIV crisis (Dallas Buyers Club) and the exacting pressures of the American elite (Big Little Lies) had on the psyche of its protagonists, Alexandra Streliski's album Inscape, explores a mental terrain similarly affected by loss and tragedy. She composes the sudden burst of energy away from destructive pursuits into simple compositions that expose the raw nerve of longing under the base of our most vital emotions.

Tristan Eckerson - "Sepelo" 

Tristan Eckerson's excellent solo piano work explores the rhythmic interplay of subtle electronic percussion between the notes of this simple piano melody. The percussive pitter-patter - delightfully understated - has the effect of acting as a propulsive force through this track. "Sepelo" is taken up on momentum like a leaf caught in an updraft - wending its way up with a discernable, guided path.

Marcel Heah - "Eves" 

On this somber composition from the Melbourne, Australia based artist, "Eves" narrates the coaxed relationship between a piano playing the bluest notes and a violin playing to the rafters. "Eves" is caught in a deluge of beauty composed for its own sake, an unabashed pairing designed to evoke peaceful feeling of drowning in melancholy.

Friday, October 19th, 2018 | Add New Comment (0)