Stadiums & Shrines


In lieu of lists, I’ll start Episode 73 by saying that my favorite album of 2019 is Nina Keith’s arresting MARANASATI 19111, released in the late summer by Grind Select. It carries a kind of emotional sway unique in the sprawl of contemporary wordless music. To me, these arrangements — classical piano conversing with found sounds and textured traces of vocals, flute, and electronics — render the sense of impermanence found in listening with palpable awareness, intention, and pause, be it for the clouds or passing thoughts. The album never ceases to surprise in its utility, its choices to bloom sounds in certain moments, its ability to regenerate and turn corners, between melancholy, bliss, and revelation, seamlessly.

This music is deeply personal to the Philadelphia-based composer and trans woman — built around specific memory networks dealing with her experiences with tragedy, trauma, EMDR therapy, paranormal incidents — while also wildly inviting; it lets listeners in. She recently spoke with Whitney Wei of Bandcamp Daily about the concept of groundlessness, with respect to mortality as well as artistic expression and improvisation. It’s an enlightening read and makes her mix for us that much more effective. As do her accompanying words for u own the water, below:

“A couple months ago I was recovering from surgery and my friends were all sitting on this bed together when I admitted to them I had just learned that my birth time was actually 4 hours off from what I had previously thought. My friend immediately pulled out her phone to figure out my birth chart again (double libra, capricorn rising). My girlfriend exclaimed, ‘There has to be something wrong, how is there no water in her chart? She’s the soggiest bitch I know.’

“This mix began as a playlist on my phone to soundtrack my self care routine. Most of those nights aren’t really planned but rather surrendered to. Usually they come about from being at a sort of low desperate place often reeling from woes of existing in hostile, patriarchal and transphobic environments. After mindlessly adding songs to that playlist I realized it was somehow unintentionally but explicitly aquatic themed and didn’t have many cis men on it. I decided to make this mix expanding on that theme.

“I think about water as a conduit between myself and the world. An aid to soothe and dissolve the disconnect with the world that I might be feeling. My ideal self care routine involves sitting in a candlelit bath and/or crying completely for the sake of crying without needing to find a reason. There’s a gentle exchange with water. It’s the same water that evaporates into clouds and rains on everyone.

(*Not trying to make any kind of statement here. I love music made by boys, just not what I listen to during my bath-cry.)”


Kelly Moran – Water Music
Felicia Atkinson – To This Island
Emily A. Sprague – Water Memory 1
Colleen – A Swimming Pool Down The Railway Track
Katie Dey – Waves
Mary Lattimore – Wawa by the Ocean
Kara-Lis Coverdale – Splash 144
Nina Keith – I’m In The Water
Tujiko Noriko – The Flood
Yohuna – Lake
Ana Roxanne – It’s a Rainy Day on the Cosmic Shore
Resina – Dark Sky White Water
El Perro Del Mar – Inner Island
Julia Kent – Acquario
Julianna Barwick – Crystal Lake
Anna Luisa – Liquid Memory
Kaitlyn Aurelia Smith – Wetlands
Meredith Monk – Cloud Code
Emilie Levienaise-Farrouch – The Only Water
Astrid Sonne – Water Creates Swimmers
Floating Spectrum – Inner Island
Holly Herndon – SWIM

S&S Radio broadcasts every now and then on Newtown Radio.



Today there is an unusual disc out in the world featuring recorded moments from many friends of Patient Sounds (intl)​, including contributions by our daughters. It is bittersweet to say goodbye to Patient Sounds. The independent publishing house is closing down after ten years. Still in their prime — STILL, Waiting — with their renegade ethos intact (read the letter). Their sounds have shaped S&S just as much as the words of the label’s founder, Matthew J. Sage. My tape collection is probably 40 percent PS. If you are in Chicago, celebrate with them tomorrow (Wednesday, August 21st) at The Hideout Inn.

A few recent releases, below, followed by the program’s tracklist.

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Back in the fall of 2014, Nick Zanca joined us in the Newtown Radio studio, armed with a sophisti-pop-filled mix in advance of his last Mister Lies album, Shadow (Orchid Tapes). In the five years that followed, he put Mister Lies on ice to explore collaborative work with the project Quiet Friend and otherwise settle into a personal hiatus, simply letting life happen in New York.

The new Mister Lies album, released last week, is a self-titled, self-released, and self-assured reset that was shared alongside an essay by Zanca at The Talkhouse. It finds the artist returning to his home-recording roots, embracing the power of memory and the present, and adding depth and subtlety, through dynamic field recordings, to his evocative and fluid late-night pop improvisations.

Like his last mix, Zanca taps into influences, only this time he’s dived below the surface of compositional work, headfirst into the textural and fragmental documentations of audio. Phonography opens with a recording of Pauline Oliveros outlining one of her deep listening exercises and then proceeds to flow through sound and music generated by, as he says, “sculpture, conversation, repetition, improvisation, travelogue, and natural phenomena.” Presented in this format, the mix offers a sprawling opportunity to exercise focused listening techniques, and to find nuances in the tonalites of the world, both here in this encapsulated selection, and in your everyday surroundings. A fascinating and erudite two-hour aural diorama (ending in our favorite lakeside scene), accompanied by a handmade collage cover by Nathaniel Whitcomb. Zanca adds:

“Field recordings and found sounds have always been a fundamental aspect of my musical practice, but I never consciously placed the origins of my interest in capturing the audible illustration of environment until revisiting my solo project after some time away. I found myself immersed in musique concrète and electroacoustic composition in the studio — sonic artworks that generally revolve around and build upon landscapes both natural and invented. This mix is an attempt to gather the fruits of these discoveries, blend excerpts into a dense collage and posit deep listening as an altogether meditative pursuit.”

Pauline Oliveros – Tuning Meditation (The Kitchen, NYC 1979)
Harry Bertoia – Clear Sounds (Sculpture, 1973)
Sarah Hennies – Foragers
David Hykes / The Harmonic Choir – Multiplication des voix au cœur du corps sonore
Costin Miereanu – Musique Climatique
Ernest Hood – From The Bluff
Wendy Carlos – Sonic Seasonings: Fall
Scott Fraser – Communiqué
Hiroshi Yoshimura – 小川にそって (Air In Resort)
Alvin Curran – Fiori Chiari, Fiori Oscuri
Nuno Canavarro – Untitled excerpt from ‘Plux Quba’
Annea Lockwood – Tiger Balm
Koichi Shimizu / Apichatpong Weerasethakul – Reverberation (Syndromes And A Century)
Luc Ferrari – Petite symphonie intuitive pour un paysage de printemps
Pit Piccinelli / Fred Gales / Walter Maioli – Amazonia 6891
Pat Metheny / Lyle Mays – As Falls Wichita, So Falls Wichita Falls
Egberto Gismonti – Maracatu, Sapo, Queimada & Grilo
Joni Mitchell – The Wolf That Lives In Lindsey
Yasuaki Shimizu – このように詠めり (その二)
Carl Stone – Shing Kee
Vanessa Rosetto / Matthew Revert – Everyone Needs A Plan
RIP Hayman – Dreams Of India And China
Tetsu Inoue – Inter Link
Aksak Maboul – Scratch Holiday
Jan Jelinek – Lady Gaga, you once said in an interview that you write music for the fashion industry. Is fashion as important to you as music?
Derek Bailey / Min Tanaka – Rain Dance
Satsuki Shibano / Yoshio Ojima – Caresse (3eme partie)
Holger Czukay / Rolf Dammers – Boat Woman Song
Julius Eastman – Gay Guerrilla
Moniek Darge – Turkish Square
John Martyn – Small Hours

S&S Radio broadcasts every now and then on Newtown Radio.


From their home near Lancaster, Pennsylvania, Adrian Burns aka Baltic Noise makes escapist music fusing found sounds with washes of static and melody. Released in July, their debut full-length Mourning Shore humbly extends a set of synth and guitar meditations made in the memory of a loved one. Songs perry grief and anxiety with warmth and beauty; for some, catharsis requires an unleashing of aggression or disruption as a way of coping, but as heard here, catharsis can envelop and glow in tranquil solitude, flowing, rather than erupting, in and out like a noticed breath. This new album is the first of a two-part companion record, and soon receives an addendum featuring reworkings by Teen Daze, WMD and more, out August 30th.

Burns’ guest mix for S&S Radio continues down the path of processing loss through placidity. The sequence features three Baltic Noise recordings in seamless company with tracks by a few artists whose work has inspired and comforted them in recent days. Burns adds, “music has been a channel for me to express these emotions and I hope this mix offers others a chance to recontextualize the sounds they hear to fit their own needs of working through something.”

Sarah Davachi – hours in the evening
Dedekind Cut – Equity
Autumn Pool – Love is not Enough
Baltic Noise – Pingvellir dreams
Baltic Noise – 40 winks
Gigi Masin – The Word Love
Baltic Noise – Untitled
Geotic – Troperens

S&S Radio broadcasts every now and then on Newtown Radio.