ASRA

𝗛𝗔𝗬𝗗𝗘𝗡 𝗣𝗘𝗗𝗜𝗚𝗢 is on tour! He of the P4K-ordained ‘Best New Album’, weighing in at a hefty 8.3, will be here, there, and everywhere for the rest of the year! Did somebody say 𝓡𝓞𝓐𝓓 𝓓𝓞𝓖??? Tix where you’d expect it …↑

𝘚𝘵𝘦𝘯𝘢 (2020-2024) Written and recorded in Cyprus, Greece, Sweden, Miller Beach, and the San Juan Mountains. Music and photography by Matchess Mastering by Matt Ibarra at STR, San Diego Calligraphy by Blue McCall Design by Dan Osborn “One body then that neither seemed and both” Of the twenty combinations, only fifteen make music: vitality, incision, sanity Your endless limbs and hollow core— voices cut the space between us into something fleshy, wet —and your double mind We were born after all She wades into a hot spring at the edge of the sea to wait The sun rises and sets, and you will never die “These luxuriances only formed a more horrid contrast with his watery eyes” When we found that birth Petra tou Romiou (another stone from the sea, like the Cairn) they were already looking toward the Spanish Steps they had already wandered away they had already found the ice floes they had already looked down and were resting Can you hear that sound, again? A moaning to the barn Now we tell you, it wasn’t the Rafter in the spring house, charred man, cold wind, oily fog It was the pleasure of the Cairn, far from the sea The trail of blood, thin line in the snow, came from a hare or pheasant hanging from a hunter’s belt and a bell doesn’t ring in the tomb on the hill no matter how long we listen

𝘏𝘢𝘷 (2023-2024) for sine waves, marimba, viola, Arp Odyssey, and Halldorophone. Multichannel A/V installation as artist-in-residence at Inkonst, Malmö. Halldorophone residency at Elektronmusikstudion (EMS), Stockholm. Sound and image by Whitney Johnson Mixing by Cooper Crain at Electrical Audio, Chicago Mastering by Rashad Becker at Clunk Studio, Berlin Calligraphy by Blue McCall Design by Dan Osborn Thanks to touring collaborators Haley Fohr, Jenny Pulse, Lula Asplund, Alan Sparhawk, and Claire Rousay “It seemed both and none of both to beene.”

𝙈𝘼𝙏𝘾𝙃𝙀𝙎𝙎 is wild! In addition to hitting the road this July for a jaunt in West/Southwest/Northwest with the a new iteration of the Matchess trio, Whitney Johnson has released an expanded version of Fundamental 256 Hz! 𝑭𝒖𝒏𝒅𝒂𝒎𝒆𝒏𝒕𝒂𝒍 256 𝑯𝒛 was originally released in 2019 by the venerable @longformeditions and Whitney has since doubled-down with a remix of equal length! Not only is it available on cassette AND digitally, you can also get the full digital album with purchase of the new ‘cymatic’ t-shirt or tote bag! It’s the debut release on Whitney’s own 𝗦𝘁𝗲𝗻𝗮 𝗧𝗮𝗽𝗲𝘀! Whitney is bringing Haley Fohr (aka Circuit des Yeux) and Jenny Pulse (of Tim Kinsella of Jenny Pulse!) as part of the Matchess band for a big grip of live dates – read below or swipe for the rest! 13 JUL - New Orleans / Siberia 14 JUL - Austin / Hotel Vegas 15 JUL - Marfa / The Pony 16 JUL - Tucson / 355 N. Court Ave 17 JUL - Phoenix / Gracie’s Tax Bar 18 JUL - Flagstaff / Interference Series 19 JUL - Joshua Tree / The Firehouse 20 JUL - Los Angeles / 2220 Arts + Archives 21 JUL - Big Sur / Pop & Hiss 22 JUL - San Francisco / Lost Church 23 JUL - Arcata / The Miniplex 24 JUL - Reno / The Holland Project 25 JUL - Eugene / Ditch Projects 26 JUL - Portland / Turn, Turn, Turn 27 JUL - Astoria / Anita 28 JUL - San Juan Island / Alchemy Arts Center 29 JUL - Seattle / Recreational Psychoacoustics Lab

MATCHESS is OUT THERE! On the road, that is! As the venerable Drag City recently pointed out: “Whitney will be joined onstage by Haley Fohr (AKA Circuit des Yeux) and Lula Asplund; in July, it’ll be Matchess, Haley, and Jenny Pulse. “Their individual practices in experimental music, sound art, and performance will invoke the “two against three” principle to alchemize a fresh collaboration on this tour of the American East, South, and West — with tremors of a new Whitney Johnson / Matchess album percolating! We’re surely feelin’ something…” JUN 12 - Asheville NC / Static Age JUN 13 - Carrboro NC / All Day Records JUN 15 (#1)- Virginia Beach VA / Logstradamus JUN 15 (#2) - Baltimore MD / Current Space JUN 16 - Philadelphia PA / The Rotunda JUN 17 - Portland MN / The Aphodion Theater JUN 19 - Kingston NY / Tubby’s JUN 20 - Brooklyn NY / Union Pool

Let’s talk 𝙃𝙊𝙍𝙎𝙀 𝙇𝙊𝙍𝘿𝙎⁽¹⁾. Today we reveal the ‘Interventions’ tape reissue⁽²⁾ & expanded digital edition! ‘Interventions’ is their third album & it is WILD. We added a bonus live track + we reissued the tour t-shirt⁽³⁾! This beautiful band⁽⁴⁾ is also going on tour on the US west coast⁽⁵⁾ where they will have the black version of the tour shirt⁽⁶⁾. If you saw them on the east coast, you saw the blue version of this shirt as well as the blue tote bag⁽⁷⁾. Soon there will be a black tote bag and those will, one day, end up on Bandcamp. All this other stuff is on Bandcamp NOW & there is a link in the link spot and today is 𝘽𝘼𝙉𝘿𝘾𝘼𝙈𝙋 𝙁𝙍𝙄𝘿𝘼𝙔.

𝗥𝗘𝗟𝗔𝗫𝗘𝗥 announces ‘𝙄𝙣 𝙎𝙤𝙛𝙩𝙚𝙣𝙞𝙣𝙜 𝘼𝙞𝙧' — out 1 Apr 2024 on Lovers Rock Recordings. Following the eerie, floating vistas of 2022’s ‘Force Field: A Guide for the Perplexed’, Relaxer dials back the psycho club impact of ‘Candy’ and ‘Licking’ in favor of whalesong womb sonics and HD rain droplets. In Softening Air is a mercurial, poetic descent, combining spoken word with spacious, enveloping sound design. Two tracks are up for preview: “In Softening Air,” which snarls and contorts before laying back in dreamy, dark pools, and the gorgeous instrumental “Days”. Link up above. In 6 tracks, plus a remix from K Wata, this album spelunks into moist, mossy, fleshy crevices of the psyche. Sorrows & lamentations, shit talking, punk rock, apps, phlegm, studies in depth psychology, rat piss - it’s all here, presented in a gentle, loving tableau, and recited as a catalog of the inevitable and the unavoidable.  “like a river from a stream, we’re here / and it’s unwinding / in softening air.” This work was premiered at Dripping (@dripping.fyi ) at Nowadays (@nowadaysnyc ), May 2022, reworked as an audio/dance piece choreographed and performed by Æirrinn Ricks and Relaxer. Relaxer is the solo project of Daniel Martin-McCormick (fka Ital, member of Black Eyes (@blackeyesdischord ), Mi Ami and co-founder of Dripping). He is based in New York.

3 LP bundle of my solo records (Shift, Acquiesce, and Love Sick) is now available. This one’s for the new heads ⚡️ Thanks in advance 💕🎧 TALsounds.bandcamp.com 📸 by @reallyfarrah

𝗛𝗔𝗬𝗗𝗘𝗡 𝗣𝗘𝗗𝗜𝗚𝗢 has landed! And he’s taking Europe by storm! Swipe to see a clip from the first night of his first-ever non-US tour – a packed show in Berlin, no less. The rest of the dates below, tix in our 🔗 zone. He took the time to issue his third newsletter today as well, find that in the same 🔗 spot and sign up by clicking the upper lefthand corner. Swipe to see how that thing would look on your phone if you had already been signed up. EU/UK TOUR (c/o @swampbooking ) Feb 02 - Aalborg, DK - Northern Winter Beat Feb 03 - Gothenburg, SE - Folkteatern Feb 04 - Copenhagen, DK - Beta Feb 06 - Hamburg, DE - Kulturpalast Feb 07 - Brussels, BE - La Source Beer Co Feb 09 - Manchester, UK - Yes Basement Feb 10 - Glasgow, UK - The Glad Cafe Feb 11 - Newcastle, UK - The Lubber Fiend Feb 12 - London, UK - The Lexington (SOLD OUT) Feb 13 - Paris, FR - Supersonic (NEW VENUE!) Feb 14 - Lyon, FR - Le Sonic Feb 15 - Geneva, CH - Antigel Festival Feb 16 - Milan, IT - Teatro Linguaggicreativi Feb 17 - Innsbruck, AT - Weyrer Loft Feb 18 - Jena, DE - TRAFO Feb 21 - Lisbon, PT - ZDB

Many happy returns to the great Natalie Chami, aka 𝗧𝗔𝗟𝘀𝗼𝘂𝗻𝗱𝘀! Truly one of the best to do it – she’s gifted, bold, and completely right on. If you know her music, you know she’s an incredible artist. If you’re friends with her, you’re very lucky. We’d be remiss not to re-up the link for her latest album, ‘𝙎𝙝𝙞𝙛𝙩’, on NNA (@nnatapes ) – an absolutely beautiful record that Natalie brilliantly conceptualized to feature a post-production cast made up completely of women who share her Southwest Asian and North African (SWANA) descent. It’s truly a feat on many levels. Additionally, we put up an older mix, plus her performance from one of our favorite livestreams from the days of the pandemic (care of our friends at @newmusiccircle ), and the tickets for her Chicago homecoming gigs with none other than BLACK EYES and Lifeguard. Happy birthday, Natalie! 📸 by @reallyfarrah

𝗠𝗔𝗧𝗖𝗛𝗘𝗦𝗦 aka Whitney Johnson provided music (alongside the great Olivia Block) for Deborah Stratman’s ‘𝙇𝙖𝙨𝙩 𝙏𝙝𝙞𝙣𝙜𝙨’ which is about to finish a return engagement at the Gene Siskel Film Center in Chicago. Final showtime in our links. Also in there is an interview with Stratman in Tone Glow: Film Show which covers some of Stratman’s collaborations with musicians like Matchess, Olivia Block, and Mary Lattimore. “An official selection of Sundance and the Berlinale Film Festival, and the opening night film of the 33rd Onion City Experimental Film Festival, Stratman’s LAST THINGS examines evolution and extinction from the perspective of the rocks and minerals that came before humanity and will outlast us. “With a stunning array of images, from microscopic forms to vast landscapes, Stratman seeks a picture of evolution without humans at the center.” Swipe ⬅️ for stills and the trailer! Awards & Nominations Winner - Green Dox, Dokufest International Documentary and Short Film Festival
Official Selection - Sundance Film Festival, Cinéma du Réel, DocAviv Film Festival

𝗔𝗔𝗥𝗢𝗡 𝗗𝗜𝗟𝗟𝗢𝗪𝗔𝗬 released ‘𝙁𝙧𝙚𝙖𝙠​-​𝙊𝙪𝙩 𝙔𝙤𝙪𝙧 𝙁𝙧𝙞𝙚𝙣𝙙𝙨!‘ – his 35-minute live set from TUSK Festival – via Hanson Records. ＨＵＧＥ ＧＩＧ. There’s no wonder that Dilloway himself refers to it as “possibly my favorite set I’ve ever performed.” The video is an absolute must-see – scope it + the Bandcamp entry in our links. Recorded in 2015 by Sam Grant at Gatehead Old Town Hall in Newcastle, England, this was Dilloway’s first UK gig since the Thurston Moore-curated All Tomorrows Parties in 2006. Tusk Festival wrote “Hailing from Michigan, Aaron Dilloway possibly first came to your attention as a member of Wolf Eyes. Since he left that band a decade ago, he’s delicately extended his exploration of tape manipulations and found sound appropriation, simultaneously bringing warmth and acidity, high-end assault and dreamy dislocation in a way that could be said to unwittingly form a bridge between Robert Ashley and hauntology.”