Textures And Transmissions
Different Noises 145
This eclectic selection traverses a broad spectrum of genres, blending experimental drone, post-rock, and avant-garde jazz with Australian indie and classic rock. The tracklist balances contemporary works from artists like Big Brave and DEAFKIDS against archival gems, including a Miles Davis session outtake and a live 1988 performance by The Dream Syndicate. By moving between atmospheric soundscapes, lo-fi folk narratives, and guitar-driven melodies, the collection creates a varied listening experience that highlights both international alternative movements and independent song-writing.
AUDIO
PLAYLIST
Big Brave - in grief or in hope - in grief or in hope 1
Smoked Salmon - Fully Sick and Tired - Totally Sick!! 2
Sick Gazelle - Hippies - Veld 3
2 Lost Souls - Hiding Under Pie Crust - Hiding Under Pie Crust 4
DEAFKIDS - REFLEXO - CICATRIZES DO FUTURO (SCARS OF THE FUTURE) 5
Annick Odom & Linen of Words - Bingham Bailey - Linen of Words 6
The Hollywood Stars - I’m Not Broken - Hey! LA! 7
Matt Evans - Sword of the Sun (feat. Chris Ryan Williams) - Daydream Observatory 8
Wooden Overcoat - Home - Home 9
2 Lost Souls - Mind Blown - Hiding Under Pie Crust 10
Bahar Movahed - In Grace Of Flight Parts I and II - Together Yet Alone 11
Nathan Hildebrand - portals II (everywhere and everything right now) - Noise Trip Explosion 12
The Go-Betweens - Ashes On The Lawn (acoustic demo) - G Stands For Go-Betweens: The Go-Betweens Anthology - Volume 3 13
Asteroid Ekosystem - Perpetual Fantastic - Sounds Have Dreams 14
2 Lost Souls - Brightness To Emerge - Hiding Under Pie Crust 15
Dave Graney and Clare Moore - Aweigh Touche - Laburnum of the Mind 16
Matt Evans - Stone Eater - Daydream Observatory 17
Moff Skellington - A Trellin Hut Where Stinks - Dawn Ablutions 18
The Get Alongs - Come On - Second To None 19
Hugo Race Fatalists - The Comets Drops - I Made It All Up For You 20
The Dream Syndicate - Now I Ride Alone (Live in Vitoria Gasteiz, Spain, 1988) - Live, Through The Past Darkly 21
Neon Crabs - Ghost of Sores - This Puppy Can See A Frog 22
Miles Davis - Double Image - The Complete Bitches Brew 23
NOTES
The singular trio of guitarist/vocalist Robin Wattie, guitarist Mat Ball, and bassist Liam Andrews, have shared the title track single for upcoming album in grief or in hope, out June 12th. The single comes ahead of their spring European tour and follows the announcement of their extensive summer North American tour with The Body this summer. “in grief or in hope” stands as one of the album’s most direct pieces, presenting Robin’s emboldened, steady voice with pitch-shifted modulations. The thrum of guitars by Wattie, Ball, and Andrews create a makeshift bass drum pulse beneath sheets of distortion and feedback
The name Smoked Salmon was begging to be used! Kim Salmon had been ignoring it for decades but finally gave in after being called on for a benefit for the Firefighters at the start of 2020. Smoked Salmon came to be the players stationed over in the west, in France, up in NSW and handy in his hometown Melbourne whenever he needed a band. And who doesn’t need a band? He could play shows most anywhere! He could even take an ensemble into a studio under the banner of Smoked Salmon - which he eventually did. Smoked Salmon is a concept, a collection of recordings, a collective, a philosophy of least resistance flowing from a reputation for resolutely going against the stream! Wait a minute! Least resistance? Against the stream? Here’s the clincher. You can do both! Kim still has the desire to go upstream but has found a great source of new sounds. Claire Birchall - guitar, keys, vocals, Jeff Hooker - bass, Michael Stranges - drums, vocals and additional engineering, Dimi Dero - percussion and all sorts, and of course Kim Salmon - vocals and guitar.
Sick Gazelle has announced the release of its second LP, Veld, due June 26 via Vampire Blues. The five-track collection’s first single and video, “Hippies,” is out now. Previously a trio comprised of saxophonist/vocalist Bruce Lamont (Yakuza), guitarist Eric Block (Veloce), and drummer Steve Shelley (Sonic Youth), the band expands to a quartet on this latest recording with the addition of bassist Douglas McCombs (Tortoise). Somewhere between free-rock confusion and deep space tranquility, Sick Gazelle conjure an uncommon collision of layered saxophone and processed vocalizations, submerged textures, and heavy guitar zones, with eternally outstretching drums steering the band’s improvised pieces through stretches of formlessness and meaning. While their 2019 debut album Odum captured the spontaneity and excitement of the trio’s group chemistry, Veld expands on that charge, with McCombs’ presence offering added clarity and structure without ever losing the spark of the jam.
Moss and Rosenfeld continue their fortnightly series of three track EPs. This is the tenth in the series - all three tracks are featured.
The Brazilian duo DEAFKIDS (who seem to like capitalising everything) return with a new track taken from their upcoming album CICATRIZES DO FUTURO (SCARS OF THE FUTURE), a nine-track set that forges a path beyond the conventions and boundaries of static musical genres. The release is the band’s first non-collaborative full length since 2019’s Metaprogramação, and will be available via Neurot Recordings on 29th May 2026. “REFLEXO” (”REFLEX”) takes on the band’s most electronic facet, with an afro-industrial minimalist beat complemented by an altered 2-3 clave, submerged in polyrhythms by Sarine’s blended drum/percussion/SPD-X kit and massive eerie synthesisers by Leal.
Annick Odom is a Belgian-American performer-composer, singer, and multi-instrumentalist based in Morgantown, West Virginia. Her work is inspired by Appalachian ballad traditions and shaped by a love of archival research, oral histories, and experimental composition. Moving between voice, ensemble writing, and improvisation, she explores how traditional songs and stories are reshaped over time. This project brings together a group of collaborators from jazz, classical, and folk worlds, and a lot of the energy lives in that in-between space: structured songs that open outward, and traditional material that gets reshaped in real time.
With its soaring guitar and defiant glam strut, “I’m Not Broken” recalls the early ‘70s heyday of Mott the Hoople. “The song is about relationships in which one person thinks they can ‘fix’ the other,” explained the band’s singer-songwriter, Scott Phares. “This song rejects that notion. In my experience, you’re on a road to ruin if you think you can somehow change a person to meet your expectations. You’ve got to take it a day at a time.” Single from a forthcoming album.
Daydream Observatory from drummer/producer Matt Evans released May 15th digitally and on limited run vinyl. The second single from the album “Sword of the Sun” sparkles and glides like an ambient jazz surf session. Here Chris Williams’ trumpet shimmers atop waves of Evans’ burbling 7th chords accompanied by fervorous glints of arhythmic propulsions and punctuated by simple bassline melodies.
“Home” is the debut single by Wooden Overcoat and the first glimpse of their “Hello Sunbeam” EP. Drifting through a haze of tape echo, soft-focus distortion, and reverb-soaked guitars, the track unfolds like a transmission suspended between memory and motion. Rooted in the rain-washed creative atmosphere of Portland, it blends sun-bleached 60s garage psych with the restless shimmer of modern indie and shoegaze, where layered harmonies and an intimate vocal sit inside a glowing, oceanic swirl of sound.
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Bahar Movahed’s new album Together Yet Alone, releasing May 29 on Adhyâropa Records, is a unique and beguiling project, in terms of both purely musical values and backstory. The Iranian-born and now California-based singer, releasing her first album since the acclaimed 2012 album Goblet of Eternal Light, has created a passionate and unprecedented ode to her Persian classical roots, with great reverence for the ancient radif tradition and free of the restrictions she had faced as a female singer in Iran. Special circumstances allowed for the album to materialize, including the long-distance California/Tehran partnership with Navid Dehghan, one of the most respected Persian classical musicians and composers in Iran. During the Covid-19 lockdown, Movahed carefully crafted new music over a year of rehearsals with Dehghan through WhatsApp, flying to Tehran in November of 2021 for three days in the studio with his accomplished 14-piece Ghamar Ensemble.
Something raucous and strange to share from Toronto-based composer Nolan Hildebrand. Hildebrand, who also performs under the BLACK GALAXIE moniker, works tirelessly at hybridizing both the ethos and sonics of noise and contemporary composition. This is not some genteel reconciliation between these two modalities, rather he uses the auditory beligerence of the former to simultaneous animate and infect the latter. His pieces do things like hurtling instrumental crunch through gnarly and unorthodox processing such as mixer feedback or work with transcribing the sound of raw data files for ensembles. It’s visceral, intense, and also full of detail and texture. His aptly named Noise Trip Explosion is coming out on CD and digitally from Vancouver’s Redshift imprint and features five compositions ranging from percussion sextet with fixed media backing to live-processed solo works using generative graphic scores. Its performers include curious minded classical interpreters and also noted Toronto improvisers such as Colin Fisher and Patrick O’Reilly. It’s brash but singular statement from one of Canada’s most strident emerging contemporary music talents.
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As 8. “Stone Eater” presents the harder side of Evans’ frenetic drum-driven improvisations, blasting straight through the teeth. “It’s a tumultuous and explosive two-minute sprint that breaks through the late-capitalist doomscrool with a comically passionate embodied catharsis.” I’m not sure what that means to be honest!
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Toronto’s The Get Alongs return with “Come On,” the first advance single from their upcoming sophomore LP Second To None, due June 19, 2026 via Having Fun / We Are Busy Bodies. It’s jangly, road-worn guitar rock with a buzz on, pulling from the loose swagger of The Brian Jonestown Massacre and the melodic punch of early Oasis, but grounded firmly in their hometown. Formed in 2017, the four-piece, Harrison Pickernell (vocals, rhythm guitar), Rory Pickernell (lead guitar), Eric Wood (bass), and Tristan Catenacci (drums), have spent the better part of a decade refining a sound that pulls from 60s garage, 70s power pop, and 90s psych without getting stuck in any one lane. Early releases leaned scrappy and instinctive, equal parts surf shimmer and blown-out indie rock. With Second To None, that same DNA is still there, just sharpened. The edges are cleaner, but the intent hits harder, the hooks land heavier, and the band knows exactly when to let things breathe and when to push it just past the point of comfort.
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Celebrating Miles centenary with another track from The Complete Bitches Sessions box set. “Double Image” is a pivotal composition by Joe Zawinul that defines the experimental transition in Miles Davis’s career between the Bitches Brew and Jack Johnson eras. Primarily recorded in February 1970 and originally released on the 1971 album Live-Evil, the track is characterised by its dense, electric textures and a hypnotic, dark groove. Featuring an expansive line-up including three keyboardists—Zawinul, Chick Corea, and Larry Young—alongside the sharp guitar work of John McLaughlin, the piece eschews traditional melodic structures in favour of rhythmic interplay and atmospheric improvisation. It remains a standout example of Davis’s fusion period, illustrating his move towards a heavier, funk-influenced sound that utilised the recording studio as a primary tool for creative arrangement.
