Photo by Samantha Casolari

As we continue to look back at the year that was, we’d like to take a moment to memorialize 40 records we haven’t already highlighted in our editors’ lists (available here, here and here) or album spotlights, starting with a stunner that soothed our caffeine-wracked nerves every time we had to deliver an issue on deadline…

Julianna Barwick, The Magic Place (Asthmatic Kitty)
A spiritual awakening we can all relate to.

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Josh T. Pearson, Last of the Country Gentlemen (Mute)
The discomforting return of a cult favorite, featuring songs that seem to go on forever, twisting the knife deeper and deeper.

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Chelsea Wolfe, Apokalypsis (Pendu Sound)
Miss the old Zola Jesus—the moody sprite that seemed to emerge out of some faraway forest with jet black hair and years of classical training and cultish record collecting under her belt? Chelsea Wolfe is here to fill that void now that Zola’s gotten brighter and blonder, as she howls and harmonizes her way through a waking nightmare that’s bewildering and beautiful.

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Austra, Feel It Break (Domino)
It’s no surprise that Katie Stelmanis shared her love of Nine Inch Nails with us earlier this year. Listen to the singer’s debut album closely and you’ll hear hints of Reznor’s intricate programming and pure melodrama. Not to mention one of our favorite singles of the year (“The Beat and the Pulse,” an end of days dance song that fully embraces Stelmanis’ sorely overlooked star power).

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Kode9 & The Spaceape, Black Sun (Hyperdub)
One of dubstep’s reluctant dons gets dystopian amid skittish breaks and flame-licked samples. And the Spaceape’s as sinister as ever, of course.

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Tim Hecker, Ravedeath, 1972 (Kranky)
The latest in a long line of Tim Hecker LPs that sound like snow blind journeys into the unknown. And to make things extra apocalyptic this time around, Ben Frost helped Hecker record the entire pipe organ-infused album in an old Icelandic church.

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Maria Minerva, Cabaret Cixous (Not Not Fun)
Ladies and gentlemen, we’re floating in space.

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Laurel Halo, Hour Logic (Hippos In Tanks)
Techno that doesn’t belong to any time or place; nothing on this astral plane at least.

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Blanck Mass, Blanck Mass (Rock Action)
One-half of Fuck Buttons (Benjamin John Power) goes beat-less and delivers a deep set of selected ambient works.

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Patten, GLAQJO XAACSSO (No Pain In Pop)
As seems to be the case with most young electronic producers these days, Patten hasn’t divulged too many details about his personal life or creative process, although this excellent DUMMY interview certainly tried. All you need to know is that GLAQJO XAACSSO’s code-spewing title is there for a reason—because Patten could pass for an Autechre side project, albeit one that’s human after all.

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Andy Stott, Passed Me By (Modern Love)
Making up for lost time, Andy Stott finally delivered a proper follow-up to his five-year-old debut, Merciless. The first of two mini-LPs, Passed Me By set the barely lit stage for Stott’s new sound—a tidal wave of smudged samples, catatonic rhythms and liquified loops that seem to be under the same blackened spell as Modern Love’s other MVPs, Demdike Stare.

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Leyland Kirby, Eager To Tear Apart the Stars (History Always Favours the Winners)
As if Leyland Kirby wasn’t already busy with two Caretaker albums (An Empty Bliss Beyond This World, the soon-to-be-released Patience score) and a boundless white label series (Intrigue & Stuff), the producer/composer presented a logical extension to his Sadly, the Future Is No Longer What It Was trilogy. Synth washes and contemplative keys make for one hell of a partly cloudy combination—decidedly sad yet set to stun.

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The Weeknd, House of Balloons (self-released)
Earlier this month, Abel Tesfaye shared the following on Twitter: “drums… louder drums…. strings…. more fucking strings… anxiety, pain, more fucking pain…” As scripted as that may look on a computer screen, the singer has a point—one of the reasons the Weeknd has courted indie kids and child actor Canadians is his devotion to being more decadent and melodramatic with each passing chapter of his mixtape trilogy. House of Balloons is where it all began, a drug-gobbling middle ground between bloodletting R&B and left field loops like Beach House and Siouxsie and the Banshees.

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Rustie, Glass Swords (Warp)
Remember when Justice said their second album was going to be all proggy? Too bad it doesn’t sound like this—maximalist beats that have been blasted with shattered LCD screens.

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Pinch & Shackleton, Pinch & Shackleton (Honest Jon’s)
A welcome return to Shackleton’s Skull Disco roots, with Pinch’s dizzying drum programming meeting the producer’s menacing melodies halfway down a highway to hell.

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Belong, Common Era (Kranky)
This entire album sounds like it was recorded in a cumulonimbus cloud, then drowned in a tank of ice water. And yet, we can’t help but plunge ourselves into said tank every time it’s on.

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Thee Oh Sees, Castlemania (In the Red)
John Dwyer’s prismatic version of a pop album—a bloody duel between woodwinds, strings and guillotine-like guitars. That voice will still be a love-or-hate proposition for most listeners, but there’s at least a couple straightjacketed cuts on here that we can all agree on.

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Weyes Blood, The Outside Room (Not Not Fun)
Enough of the Kate Bush comparisons already. We want more Nico nods in the ‘quirky female singer’ department next year—spectral transmissions like Natalie Mering’s (see also: Jackie-O Motherfucker) first proper LP as Weyes Blood.

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Tom Waits, Bad As Me (Anti-)
Sixty-two years in, Thomas Alan Waits is still cooler than you’ll ever be—a convulsive cartoon of a man who spends his nights smoking cigarettes with truck stop derelicts and singing off-key with Keith Richards.

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Grouper, A I A : Alien Observer (Yellow Electric)
Someone had to be our Enya.

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Kuedo, Severant (Planet Mu)
Jamie Vex’d sheds his dubstep side for a synth-guided tour around the moon.

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Oneohtrix Point Never, Replica (Software)
While it’s nowhere near as immediate as the glistening synthcapades of his last couple records, Daniel Lopatin’s latest solo album explores his past, present and future by splicing deceivingly simple piano suites with scrambled samples that bring new meaning to the phrase “this is your brain on drugs.” Any questions?

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Motion Sickness of Time Travel, Seeping Through the Veil of the Unconscious (Digitalis)
Digitalis founder Brad Rose (see also: Altar Eagle, Charlatan and the North Sea) claims this record is the best demo he’s ever received. Maybe that’s why he remastered an initial cassette run for a proper vinyl pressing that fizzles and fades like a tall bottle of top shelf champagne.

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Zola Jesus, Conatus (Sacred Bones)
Following the lead of her last two EPs (Stridulum, Valusia), Zola Jesus’ second album douses her drama queen diatribes with swift strings, sleek synths and spare, punchy beats. We normally avoid remix records, but Conatus could sure use a complementary compilation that taps Nika Roza Danilova’s inner house diva.

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Julia Holter, Tragedy (Leaving)
On second thought, this one deserves to be in at least one of our Top 10’s. Since it isn’t, however, we’re simply going to remind you that ancient Greek play adaptations don’t get more engrossing, or jaw-droppingly beautiful, than this. Definitely keep an eye out for Holter’s second album next spring.

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Balam Acab, Wander/Wonder (Tri Angle)
Thanks to James Blake, Burial and countless other young British producers, phantom-powered, pitched-down vocals are as much a part of the arty electronic music landscape as shimmering synths and IDM-infused beats. Alec Koone projects his own purgatory onto his first LP, however, plunging us into a forested world full of trapped souls, crashing waves and crumbling trees.

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Hype Williams, One Nation (Hippos In Tanks)
A queasy bong hit to the brain, and a mighty fine reminder of why we’ll never, ever pop anything ‘psychedelic’ in our mouths ever again.

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James Blake, James Blake (Polydor)
In retrospect, this is a pretty ballsy record—a stranger-than-it-appears exploration of the producer’s hopes and fears, as set to vaporized vibes and some serious bass lines.

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Dirty Beaches, Badlands (Zoo Music)
All the pomade and switchblade combs in the world can only hope to make the rest of us as remotely cool as Alex Zhang Hungtai is on his directorial debut. Someone needs to give Jim Jarmusch this guy’s number so he can score the man’s next road trip movie.

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Earth, Angels of Darkness, Demons of Light I (Southern Lord)
The first half of a planned double LP literally drags Dylan Carlson’s dust-caked desperadoes out of the darkness and into the light, cutting through his wildly expressive chords with waves of wistful cello and perfectly paced percussion.

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Shabazz Palaces, Black Up (Sub Pop)
Sub Pop’s first hip-hop signing happens to feature Ishmael “Butterfly” Butler of Digable Planets fame, a strange connection considering how flower power positive that trio was and how foreboding Shabazz Palaces is. Black Up isn’t a hopeless listen, however; just a mercurial one.

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James Ferraro, Far Side Virtual (Hippos In Tanks)
Now that the future’s finally here, we can’t think of a better way to revisit Robert Zemeckis’ hoverboard-optional rendition of 2015 than by losing yourself in the waking technological nightmare of hypnagogic pop auter James Ferraro. Steve Jobs would not approve.

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Other Lives, Tamer Animals (TBD)
Coming straight outta Stillwater (Oklahoma, that is), Other Lives channel their post-rock past with symphonic, windswept snapshots of what suffering from manic depression must feel like. File this album next to Youth Lagoon as one of the few 2011 full-lengths that made us stop what we’re doing and actually listen every time they’re on.

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Kreng, Grimoire (Miasma)
One of the most memorable experiences we’ve ever had in New York was drifting through the dreamscape that is Sleep No More, a loose translation of Macbeth that breaks down off-off-Broadway’s fourth wall and forces you to interact with wall-crawling actors and a noir-ish environment best described as a cross between a David Lynch film and a Raymond Chandler adaptation with little chance of redemption or anything resembling a happy ending. Kreng’s latest album could easily soundtrack any one of the McKittrick Hotel’s imaginary rooms, leaving you feeling intrigued and emotionally spent at the last time.

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The Caretaker, An Empty Bliss Beyond This World (History Always Favours the Winners)
Speaking of ballroom music that’s been beamed from the great beyond, Leyland Kirby’s Caretaker guise also straddles the hazy line between stylized horror scores and borrowed nostalgia for the unremembered ’20s.

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Xander Harris, Urban Gothic (Not Not Fun)
Continuing with our theme of loving just about everything Not Not Fun put out this year is Xander Harris’ debut album, which basically sounds like a Zombi record from 2006. Meaning: this is the music that Michael Jackson’s undead friends danced to after they got done filming “Thriller.”

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Zomby, Dedication (4AD)
Unlike Joker’s disappointing 4AD debut, Zomby’s bid for indie cred on the same label expanded his crossover audience by ignoring dubstep’s continued pop cultural presence and indulging his id. It’s not what anyone expected, and he’s still a bit of a string-pulling provocateur with the press, but this telling tribute to Zomby’s fallen father has a beating, broken heart beneath it all.

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A Winged Victory For the Sullen, A Winged Victory For the Sullen (Kranky)
If Stars of the Lid never make another album, we can take solace in side projects that cut straight through the bone like this neo-classical collaboration.

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Prurient, Bermuda Drain (Hydra Head)
One of the noise scene’s few enduring forefathers discovers black-lit dance music and funnels its cold-pressed keys through primal screams and psychoanalytic poetry. Scary stuff, although Prurient’s totally ’90s mixtape for self-titled hints that there may be a charred sense of humor driving his darkest impulses.

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Real Estate, Days (Domino)
Well that was pleasant.

Check out Zola Jesus’ favorite films of the year below…

Photos by Elizabeth Weinberg

A lot’s happened since the last time self-titled spent an afternoon with Das Racist, exploring the Queens neighborhood where MC Heems and hypeman Dapwell grew up. For one thing, the Brooklyn trio—rounded out by Kool A.D., possibly the only rapper we’ve ever seen rocking a pair of Zubaz pants—finally released its first proper album, Relax, a record that rightfully earned the group a Spin cover and the tagline “hip-hop’s smartest smartasses.” Relax has also kept Das Racist on the road for the past few months.

So rather than grill them about their role in underground rap or what it was like working with members of Vampire Weekend, Yeasayer and El-P, we asked the group about 25 of 2011’s most talked-about tracks…

The Men, shot at their rehearsal space

Photo by Jimmy Fontaine

As promised late last week, we’ve uploaded the Web version of our latest issue for mass consumption a few days earlier than our enhanced iPad edition. Check it out below—featuring cover stories on Azealia Banks, The Men and Factory Floor, and exclusive features with Nicolas Jaar, Charlotte Gainsbourg and many, many more—or on a dedicated widescreen page here…

Words and Photos by Andrew Parks

If you could make it past the kill joy closing of Fleet Foxes—seriously dudes, no one cares that Dizzee Rascal dissed your MOR folk music a few years ago—the second day of Pitchfork’s annual festival was rife with artists reinventing their studio sound for the stage. That goes for everything from the feel-good Grateful Dead-isms of Woods to the muscular synth-pop of Cold Cave, which finally saw frontman Wesley Eisold relishing his frontman role with the same sense of confidence and pressure-cooked aggression that he once had in the hardcore band Give Up the Ghost.

The only letdown of the day? Watching DJ Shadow struggle to project the live visuals of his ambitious “Shadowsphere” show in broad daylight. Some advice for Pitchfork’s promoters: don’t make a sample-chopping, crowd-pleasing legend in a Death Star globe play before a band that’s best heard in coffee shops and the main stage of Bonnaroo.

As the summer release schedule slows to a slight crawl, we’re happy to report one of our most anticipated albums of the fall season: Conatus, the album Zola Jesus has been carefully sculpting in L.A. over the past year. According to her co-producer Brian Foote (see also: Nudge), the record was recently wrapped, with drums from Nick Johnson and strings from ambient artists Sean McCann and Ryan York. Other than that, the singer wrote and performed everything herself. Judging by the IDM-infused track Sacred Bones just shared, it sounds like the Wisconsin native has taken yet another creative leap on her path to becoming one of the country’s most promising solo performers.

Have a listen to the splintered synth-pop of “Vessel” and read our Zola Jesus cover story from last year below…

Zola Jesus, Conatus (Sacred Bones, October 4th):
1. Swords
2. Avalanche
3. Vessel
4. Hikikomori
5. Ixode
6. Seekir
7. In Your Nature
8. Lick the Palm of the Burning Handshake
9. Shivers
10. Skin
11. Collapse

Photo: Angel Ceballos

Free Association is a recurring self-titled feature where we go beyond simply streaming a new album (we’re looking at you NPR and Spinner!) and ask our favorite artists to share the stories behind their songs.

Up this week: Prefuse 73’s new one, a profoundly haunted exploration of the ether within Guillermo Scott Herren’s ever-evolving sample banks. Not to mention the raw power of such vocalists as Zola Jesus, Angel Deradoorian, and Trish Keenan. Or as the producer puts it in the following exclusive, “Yes, it requires patience, but everything underneath is mutating and taking shapes of its own.”

Listen to The Only She Chapters late at night with the lights off and you’re headphones on blast and you’ll understand exactly what he means…

This one is just the intro, but its sound is an important part of the constant “threads” throughout the record. Taking fragments from the tail ends of various small sounds and throwing them around violently. The abuse of delays, compression and “process” is abundant. There are fragments of Nika’s (Zola Jesus) voice floating all around in here too. I was trying to create an atonal, non melodic entrance but still maintaining a “dynamic” to it. This could serve as a “portal” into the overall sound of this record. The whole point behind such an elongated process was to capture sounds like photos and try to create the majority of the material in a more acoustic sense first. I probably could have done the same thing if I borrowed a “sick synth” from a friend but I guess I wouldn’t have achieved the same feeling at all.

Tyondai Braxton helped me get this record out of a state of being in a playlist of about 40+ recorded songs. Some things in the album’s order changed up a bit due to the amount of time that passed from when we started putting it together until it was fully completed. All of the songs were instrumentals during the time that we were creating an order out of chaos. We agreed that it should drop first and vocals would be interesting if it rode itself out into the 1-minute mark and BAM = “vocals”. After all was said and done, I decided to stick to the title’s implication and leave it instrumental. I finished it on Valentine’s Day, I was single as hell, eating Thai takeout alone, feeling sorry for myself. Essentially, the track title actually reflects the sadness that may have been there one day but I can listen back to it in a positive light. This is what happens when prepared pianos make love to mellotrons…

I initially started talking to Clémence Fichard (Faidherbe) pretty randomly over a mutual respect of each other’s music. I feel that she’s insanely overlooked; most likely because she lives in a semi-remote part of France. I decided to seize the opportunity to get her on this record because she literally makes some of the most beautiful music I’ve ever heard. Anyway, the song itself was inspired by the feelings I get from Ennio Morricone’s more non-traditionally composed themes. The initial recordings were literally comprised of a “contact mic” against an autoharp and a cello with another traditional mic set up across the room. The manipulating continued, random sounds turned into rhythms. Clémence did her harmonies and it ended up sounding not as Morricone-esque as intended at all. The instrumental vs. the vocal version is almost night and day in the way it comes across.

A brief intermission to the next chapters…Once something seems resolved, it’s not.

Shara pretty much killed this one just a few days before she was giving birth to her first child. She sent me a sketch of her idea, and it blew my mind. The next day she sent me all of her parts and explained to me that the narrative was about a life from start to finish. I was super fortunate that I wrote a song that even served as a backbone to such strong writing and emotion. Not to mention that the songs on this album aren’t the most conducive for writing a verse/chorus type narrative. The fact that she was willing to share this moment in time with me is incredible.

A semi atonal steer away from the previous song to the next in the form of it’s color that it projects in my mind. This seemed like the next logical move.

This song was built out of the remains of a project between Roberto C. Lange and myself. I put the pieces together to form a path that seemed to make sense. This is the third time that [Broadcast singer] Trish Keenan has shared her voice with me on a Prefuse 73 song. It’s beyond words how much she will be missed. The beauty of what she has left behind in any incarnation is something for everyone to cherish and be thankful for.

As of today, I was “tweeted” a review from Clash magazine (via the U.K.) and it reads: “The Keenan collab is a big clue, with the whole album treading a similar path to Broadcast and the Focus Group’s astonishing Witch Cults Of the Radio Age.” I’m not too sure what that “CLUE” might be OR why this review was “Twitter’d” directly to me? I can only wonder if it’s a clue that I listened to this particular record and ripped it off or not? I do agree that I might be a “fascinating yet flawed” human being, though.

I mixed a record for Nico’s ex-band VoicesVoices and took them on tour with me last year. I loved working with them both and it was great to help them develop their musical ideas. Nico is really open to do all kinds of things in a studio or live setting. She knocked this track out and then went on tour with Vincent Gallo. I like how she’s always hitting me up with her ideas. I’m able to keep up with many of her thoughts (via iPhone texts), which is cool. I’m pretty terrible at correspondence, so it’s nice to hear what my friends are thinking that live across the country. The last track I mixed for them was for a David Bowie tribute on Manimal Vinyl. It blew my mind how much they (Nico/VoicesVoices) had developed. I’m still bummed they broke up.

An interlude that glues the previous song’s structured formation to the next song’s “open” formation.

Niki Randa was the first guest that I recorded for this album. She came in and went for something very simple yet effective and ended up beautiful on its own. There wasn’t a whole lot of necessary post-production. Her voice and the prepared guitar sounds truly complement each other. She has a huge range and understanding of various styles of music and can adapt with ease. You can find her singing with Blank Blue, on Flying Lotus’ Cosmogramma LP, and on the new matthewdavid album.

So Zola Jesus/Nika had a go on probably five songs. On this particular one, I started loading her voice into an entirely new track I was working on, using multiple phrasings and sounds from her. Once my sound and her sounds met, there became a lot of movements going on that felt like an out of control direction. This is something I wanted to embrace rather than turn into some kind of “pop format” or pre-conceived format that I’m used to. For those who aren’t familiar with her, I will just say that she is one of the most focused and determined musicians I’ve ever met. We are recording something of more length over the summer that I’m looking very forward to.

I’m just switching gears into the next chapters of the record…

Adron put a really beautiful angle on this record. She followed a song I wrote simply on guitar and in return I got back a perfectly executed song. In Portuguese, at that. Translation: “We do not exist except as a continuation of the infinite flow of sensation through the body of time—this is only the first step.” Adron is from Atlanta and lived in NYC for awhile, then disappeared to the South again. I’m waiting for her to take over the world.

This is actually a remix of a remix. Originally a collaboration/remix with School of Seven Bells and Epstein, a.k.a. Roberto C. Lange. It was something I remixed while recording this record last summer, in which I executed with the same mindset of the rest of this record. I tweaked a few things, but I figured that it matched up perfectly with the other songs and concepts I had at the time of making this record. Roberto and Asthmatic Kitty were kind enough to let me use and build on this song.

This was once a clean composition. It’s been crushed through various modulations. Everything is pretty much how you hear it as a precursor to the next [album].

This is the remainder from the same track that I also heard Clémence Fichard’s voice on before it was finished. As with everyone, I told her to do whatever she felt or heard. She came back with this a day later.

I probably worked on this song for the longest amount of time. It comes across as the most repetitive, but it’s the length I believe. Yes, it requires patience, but everything underneath is mutating and taking shapes of its own. This is Angel Deradoorian’s voice, but she isn’t noted at her own discretion. She’s laying the on-the-low on the longest track. She was cool enough to contribute and I’m thankful. I’m really connected to this song for some reason. I guess I made something I can finally sit down and listen back to. It allows me to hear all kinds of parts come in and out that I never realized I played or manipulated.

“This mirrors the opening track and that you’re ending with an exit from where you entered. No grand gesture, just a simple recap and that’s that. ” — Tyondai Braxton

I have to agree. There is no “grand gesture” to any of this record. I started with an idea and kept riding what I was compelled to create.

Photo by Bryan Sheffield

So it looks like the Zola Jesus appearance on Prefuse 73’s new album isn’t the last unlikely pairing we’ll be hearing from the two. According to a press release, they’ve also cut a series of mixtapes starting with a psych one that dropped today. You can grab it after the jump, and check out The Only She Chapters on April 26th…

Zola Jesus & Prefuse 73, The Misanthrope Meditation Mix:
1. Life On Earth begins in the Sun’s energy. EDWARD WILLIAMS.
2. HE DESTROYED HER IMAGE. CHARLES DODGE
3. JEUNESSE PROBLEMATIQUE. Piero Umillani PERCUSSIONS VS.
4. KOLOYOSA.Pril Smiley
5. QUIET SKY. DEMDIKE STARE
6. INCANTAION. Otto Luening
7. THE SONG BEFORE. BROADCAST+THE FOCUS GROUP
8. CORTEZ. Ingram Marshall
9. Danza galattica. Piero Umiliani
10. PSYCHO ANALYSIS LESSON. Giampiero Boneschi
11. NOLD. Phonophani
12. CORALE.Antonio Russolo
13. HATRED OF MUSIC II. TIM HECKER
14. STATIC RADIATES. LEB LAZE
15. PATHETIC. William Gum-Boot & Lawrence Wiffin
16. MOON SHOT #27. SAM SPENCE
17. ll RITRATTO DI EVELYN. Bruno Nicolai
18. Vibrations in Outer Space. Vaclav Nelhybel
19. ROBOTIKA.BRAINTICKET
20. Appalachian Grove I.Laurie Spiegel
21. dialogue+random.Aggitation Free
22. Haackula # 9. Bruce Hack
23. MARZIPAN.ALPS
24. Wireless Fantasy.Vladimir Ussachevsky
25. Telepathe. ALPS.
26. Minor Pete.Mordant Music.
27. The Last Outro

Check out two of Beck’s recent mixtapes after the jump, and his entire “Planned Obsolescence” archive here…

Beck, ‘Why Do I Feel?’ Mix:
Warpaint — Lissie’s Heart Murmur
Warp 9 — Nunk
The Shaggs — Why do I feel?
Sibylle Baier — Tonight
Section 25 — C. P.
Section 25 — Melt Close
Selda — Meydan Sizindir
Serge Gainsbourg — L’homme A Tete De Choux
Uri Geller — I Cannot Answer You
Francoise Hardy — Viens
Harumi — Without Her
Chris Bell — I am The Cosmos

Beck, ‘Highrise Saturnine’ Mix:
Ulrich Schnauss – Stars
Ladytron – Highrise
Boards of Canada – Dayvan Cowboy
Brightblack Morning Light – Everybody Daylight
Perfume Genius – Gay Angels
Kurt Vile – He’s Alright
Deerhunter – Earthquake
Brian Eno – The Belldog
Salem – Frost
Zola Jesus – Night
Twin Shadow – Shooting Holes
Deerhoof – Believe E.S.P.

The Artist/Album: Prefuse 73, The Only She Chapters (Warp, April 26th)

The Details: After years of side project rumblings and rambling beat-head records, Guillermo Scott Herren has finally taken a welcome detour with a weightless collection of cuts that has more in common with neo-classical compositions than manic MPC workouts.

“This record is a weird one for me,” Herren admitted in a press release. “The process features all women vocalists and voices and the music was recorded very differently from how I normally work. This can be seen as a departure from other albums but it’s not a departure intended to leave people feeling alienated or baffled. It’s just a different way to interpret my music and it’s an open invitation for anyone that wants to listen.”

Guests include Zola Jesus, Shara Worden of My Brightest Diamond, and the late Trish Keenan of Broadcast. Check out the full breakdown below, and an album sampler at Warp’s site…

Prefuse 73, The Only She Chapters:
1. The Only Recollection of Where Life Stopped
2. The Only Valentine’s Day Failure
3. The Only Contact She’s Willing to Give [ft. Faidherbe]
4. The Only Chamber Resolve
5. The Only Hand to Hold [ft. Shara Worden]
6. The Only Thief to Steal Tonality
7. The Only Trial of 9000 Suns [ft. Trish Keenan]
8. The Only Way to Find [ft. Nico Turner]
9. The Only Test to Score
10. The Only Boogie Down [ft. Niki Randa]
11. The Only Direction in Concrete [ft. Zola Jesus]
12. The Only Recollection of How Things Change
13. The Only Guitar to Die Alone [ft. Adron]
14. The Only Serenidad
15. The Only Lillies And Lilacs
16. The Only Lillies And Lilacs Pt. 2 [ft. Faidherbe]
17. The Only Repeat
18. The Only Recycled Intro