This is my weekly(ish) answer to the question “What have you been listening to lately?” It’s lightly annotated because I don’t like re-posting material without providing some context. In the interest of conversation, let me know what you’re listening to in the comments below. Just please don’t promote your own work (or that of your label/client). This isn’t the right venue. (Just use email.)
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NEW: Recent(ish) arrivals and pre-releases
▰ The score to the upcoming second season of *Homecoming* is by Emile Mosseri, who previously scored the excellent *The Last Black Man in San Francisco*. It opens with violins that manage to be both atonal and syrupy, and gets even better from there. If A Winged Victory for the Sullen composed a season of *Westworld*, this is what it might sound like. Mosseri also scored the upcoming Miranda July-directed film *Kajillionaire*. The first season of *Homecoming* had no score, in the traditional sense. Instead, it utilized the scores of dozens of other films (see Chris O’Falt’s detailed coverage back in 2018: [indiewire.com](https://www.indiewire.com/2018/11/homecoming-score-classic-thriller-movie-soundtracks-sam-esmail-complete-list-1202018145/)), from *The Parallax View* (Michael Small) to *The Day The Earth Stood Still* (Bernard Hermann).
▰ Twenty tracks of downtempo, sample-laden excellence: *Selected Instro Work(s) 17-19 II* is the latest set from Philadephia-based hip-hop producer Small Professor.
▰ Take a minute and a half to listen to how Japanese musician Ayako Okamura tunes the world, finding the fundamental pitch of field recordings and accentuating the inherent music. (Presuming you, like I, don’t know Japanese, be sure to turn on the automated translation.)
▰ *White Moths* is a half hour of the artist known as junklight improvising in deep, often delicate melodic territory. It isn’t drone, per se. It’s drone by association.