From Kelis to Elliott Smith and everything in between, ahead of her show at this year’s Green Man, Nilüfer Yanya takes Zara Hedderman through her Baker’s Dozen

Photo by Molly Daniel

“I feel like I’ve learned to enjoy leaving space more and more as I keep making music and writing,” explains Nilüfer Yanya. Speaking from Italy over Zoom, with shows in Poland, Turkey, and Norway looming ahead of her upcoming appearance at Green Man festival, the singer-songwriter examines the positive impact revisiting older songs after touring her critically acclaimed third studio album My Method Actor had on her latest EP, Dancing Shoes.

Reassessing the potential in surplus ideas from the My Method Actor sessions, Yanya and longstanding collaborator Wilma Archer’s four atmospheric arrangements…

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source https://thequietus.com/interviews/bakers-dozen/nilufer-yanya-green-man-favourite-albums-bakers-dozen/

Detroit hardcore collective go very hard indeed, but beneath all the sludge there’s a shining pop sensibility glinting through

Credit: Joseph Duarte

There was briefly a time in the mid-70s when the prospective unmasking of wrestler Kendo Nagasaki seemed to be all the British public could talk or think about. In December 1975, Big Daddy whipped off Kendo’s famous black velvet disguise to reveal the not-so-famous Shropshire-born wrestler Peter Thornley. Thornley somehow still managed to keep his identity under wraps for a further two years before initiating his own unmasking ceremony at Wolverhampton Civic Hall in 1977. A huge live audience tuned into ITV’s World of Sport to witness history, then the world quickly moved on. Nagasaki was all but forgotten about,…

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source https://thequietus.com/quietus-reviews/album-of-the-week/the-armed-the-future-is-here-and-everything-needs-to-be-destroyed-review/

Che

Rest in Bass

18 year-old Atlanta rapper may be trap’s next biggest rockstar. His latest album is a dizzying rush of overstimulated beats and frazzled synths, finds Eden Tizard

I keep coming back to the last ten seconds of ‘On Fleek’, a cut from the 18-year-old Atlanta artist Che’s REST IN BASS. Under a staggered 8-bit mosh, the beat is cut up with what sounds like gravel blowing its nose.

Che follows in the rage footsteps of fellow ATLien Playboi Carti in a chase for ever escalating levels of extremity. He’s a self professed rockstar, a live wire hedonist, on ‘DIE YOUNG’ he even prophesied: “I’m gon’ young, we ain’t ever growing up.” The music’s body is all raucous punk energy, but its…

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The festival will also host a first-time live collaboration between Wolf Eyes and Príncipe label affiliate DJ N***a Fox

billy woods, photo by Natalia Vacheishvili

Portugal’s OUT.FEST has shared a second wave of acts playing its 2025 edition this October.

Returning to the city of Barreiro, the 21st edition of the festival will newly take in a set from billy woods, who will present material from his recent album, GOLLIWOG, and will return to the event after playing last year as part of Armand Hammer. Wolf Eyes will also return to OUT.FEST, having last played in 2007, and will debut a new live collaboration with Príncipe label affiliate DJ N***a Fox.

Kenya’s Lord Spikeheart will play in Portugal for the first time as part…

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source https://thequietus.com/news/billy-woods-lord-spikeheart-and-more-join-out-fest-2025-lineup/

Various artists produced sounds for the virtual guitar, which is the work of sound design studio Slate + Ash

Sound design studio Slate + Ash has unveiled a new virtual guitar based on sounds created by a slew of well-known guitarists that includes Sunn O)))’s Stephen O’Malley, Oren Ambarchi, David Torn and Bill Horist.

Each guitarist contributed sounds, such as loops, textures and mechanical failures, which Slate + Ash then deconstructed and turned into a suite of preset sounds for the virtual guitar. Watch a showcase for the software instrument, which is titled Ruins, below.

Slate + Ash produced the software product together with Brooklyn-based studio Circular Ruin, and they collectively described the virtual instrument as an “infinitely recursive sonic artefact” inspired by the short story that gave the…

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As she gears up for the release of her latest album New Radiations, Marissa Nadler guides Irina Shtreis through her sprawling discography via 10 essential tracks

Photo by Ebru Yildiz

The crepuscular music of American songwriter Marissa Nadler has travelled various realms. Through a discography that stretches over two decades, she has moved from confessional folk noir referencing gothic novels and Chilean surrealist poetry to observant cinematic compositions that suggest a creative kinship with Jim Jarmusch. The sense of time in Nadler’s world is not necessarily measured by the change of seasons or personal circumstances, though the latter does play an essential role in her songwriting. It feels as if the artist has a time machine or has lived a centuries-long life….

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source https://thequietus.com/interviews/strange-world-of/the-strange-world-of-marissa-nadler/

Khaled Kurbeh

Likulli Fadāin Eqāéh [To Each Space Its Own Rhythm]

The Syrian composer’s solo debut sees fragments of jangling bells, cracking seeds and FM synthesis combine to make a cohesive tapestry with a rich emotional resonance, finds Jon Buckland

Likulli Fadāin Eqāéh (لكلّ فضاءٍ إيقاعه) by khaled kurbeh

For Berlin-based, Syrian musician Khaled Kurbeh, the vast tapestry of everyday life, with all of its chaos, routines, bureaucracy, and (mis)fortune, can be experienced through the application of predictable and unpredictable rhythms. Rhythms that often emerge from some of the least likely places.

On Kurbeh’s first album in seven years, Likulli Fadāin Eqāéh [To Each Space its Own Rhythm], stagnation is not an issue. A matter reinforced by the track titles, with their allusions to journeys…

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source https://thequietus.com/quietus-reviews/khaled-kurbeh-likulli-fadain-eqaeh-to-each-space-its-own-rhythm-review/

The deluxe edition of the 2005 album comes with additional demos, live recordings and more

Devendra Banhart is reissuing his 2005 album, Cripple Crow, to mark its 20th anniversary.

Set to come out as the inaugural release on Banhart’s new label, Heavy Flowers, the reissue will include the original album, demos, the B-side ‘Shame’, a previously unreleased song called ‘The Seventies’, and live recordings of ‘Long Haired Child’ and ‘Hey Mama Wolf’. The set features 37 tracks in total.

In a statement, Banhart said: “Cripple Crow! Equal parts gag and pride! What a trip! What a ride! What a time! It’s all a bit embarrassing, and, yet, it was such a beautifully free time of uncensored experimentation and loving camaraderie that I can’t help but…

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The new cut is the band’s interpretation of a 1974 single by rock band Bijelo Dugme

Laibach have shared a new standalone single, ‘Die Kanone’.

The new cut is the band’s intepretation of a 1974 single by rock band Bijelo Dugme called ‘Top’. Bijelo Dugme were the most popular and commercially successful band in the history of former Yugoslavia, and the cover was created at the invitation of the original track’s songwriter, Goran Bregović, to mark 50 years since the band’’ inception.

The release of ‘Die Kanone’ follows on from Laibach’s recent album Alamut, as well as covers of Foreigner’s ‘I Want To Know What Love Is’ and Billie Holiday’s ‘Strange Fruit’.

Listen to the new song below.

‘Die Kanone’ is out now on Mute.

…

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It marks Yves Tumor’s first release since 2023 album Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds)

Yves Tumor has collaborated with bar italia’s NINA on a new single, titled ‘WE DON’T COUNT’.

Marking the two artists’ first collaboration on record, the track is Yves Tumor’s first release since 2023 album Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds).

For NINA, the new song follows on from previous solo standalone tracks ‘TWINK’ and ‘Till the devil gets bored’, which were both released this year. She also put out a collaborative EP, Discordia, with fellow Roman artist Orazio.

Watch the video for ‘WE DON’T COUNT’ below.

‘WE DON’T COUNT’ is out now on Warp Records.

…

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