NOMON "Echoes of Breakage"
Echoes of Breakage is the debut album from New York’s NOMON, the sister duo of percussionists Shayna and Nava Dunkelman. Building on the deft collision of traditional Asian sounds, electronics, and contemporary percussion music established on the duo’s 2021 EP Card II, the new album captures dramatic artistic growth and sonic expansion. The duo’s deep roots in percussion music have been increasingly complimented by the seamless incorporation of electronics and long-form compositional ideas. They’ve arrived at a bracing marriage of past, present, and future, making sense of disparate individual musical practices. Echoes of Breakage boldly elides any sort of stylistic convention, instead tapping into instinct and careful listening to bring seemingly incongruous ideas together, whether it’s how gamelan-inspired breakdowns are subsumed by moody electronic soundscapes or the way they build slow-build dramatic tension through meticulously measured interaction where every gesture is carefully weighted.
Echoes of Breakage is a celebration of family that uses a wide assortment of tools, styles, and rhythms unbound by any single tradition, era, or aesthetic. In NOMON Shayna and Nava Dunkelman push one another and coalesce, trusting their guts to meld their ideas into richly unified pieces that don’t concern themselves with genre. Instead it delivers a perfect marriage of pleasure, rigor, and experimentation, rejecting any notion that such things are mutually exclusive.
Shay Hazan "When It Rains It Pours"
Bassist, composer and producer Shay Hazan returns with his third solo album, ‘When It Rains It Pours’, on Batov Records. Following the critical success of ‘Reclusive Ritual’ and ‘Wusul’ وصول, Hazan takes a bold step forward, shifting from the guimbri-led sound that established his reputation to a broader palette of bass, guitar, and synth-driven compositions.
Where his earlier work foregrounded the raw, earthy textures of Gnawa tradition, ‘When It Rains It Pours’ reflects Hazan’s evolution as a producer and multi-instrumentalist. Across eleven tracks, Hazan deepens his exploration of layered grooves, spiritual melodies, and experimental textures, resulting in his most expansive and personal statement to date.
The album’s title embodies Hazan’s experience of being tested by life when multiple challenges arrived at once – musically, personally, and physically. A painful period in which he was unable to play double bass or guimbri due to joint issues became the spark for rediscovering the electric bass, reconnecting him with an instrument he had set aside on personal projects for years. The record documents this transition, capturing the tension between struggle and renewal.
Bearings "Comfort Company"
William Basinski "The Disintegration Loops – Arcadia Archive Edition"
Since the turn of this century, perhaps no other modern composition has had a more resonant healing effect than The Disintegration Loops. Composer William Basinski’s deteriorating analog tape loops evolved from melodic symphonies to melancholic silence over a span of time that uncannily turned passing minutes into pensive lifetimes. In her foreword for the new box set reissue of The Disintegration Loops, the pioneering multimedia storyteller, Laurie Anderson, describes the impact of this transformation in poetic detail: “These dissolving sounds, this emptying space, has gained my complete confidence. They are taking me somewhere. I am willingly following these sounds, becoming more and more transparent.” The Disintegration Loops – Arcadia Archive Edition is an expansive new box set that includes the entire 5-hour suite of iconic work. Newly remastered from the original recordings by Josh Bonati, the hefty package includes eight vinyl records (or four CDs for the less analog-inclined) in sturdy full-color jackets featuring the restored original artwork, and a new 1000-word foreword by Laurie Anderson – all housed in a striking heavyweight, case-wrapped box. It is the ideal encapsulation of one of the 21st Century’s most truly transcendent works. As Anderson concludes in her foreword, “this music has created another world, a world to be carried away in.”