"Buh Records, based in Lima, Peru... launched in 2004... specializes in Latin American experimental music, and while its catalog features plenty of contemporary artists from across the region—and the globe—it maintains a strong focus on unearthing overlooked classics and unknown gems that reassert Latin America’s place in avant-garde history" - Pitchfork presents the notable label, and picks out some stand-out tracks.

White noise is the music industry’s next big thing. Streaming services have seen an explosion of tracks in the last year consisting entirely of hissing, humming, fizzing and other varieties of radio static, as well as recordings of rainfall, ocean waves and crackling bonfires. Some of the recordings have earned their creators millions of pounds. Record companies and tech firms have taken notice" - Guardian is looking into the into the interesting phenomenon.

Jennifer Lucy Allan shared an interesting thought about "weird" music in a Music Journalism Insider interview: I think there’s something deeply conservative about pointing out something’s weird, I always imagine it being said in inverted commas, or with a sneer. Even worse is using it with pride to distance yourself from so-called pop music. It’s not weird music, it’s unfamiliar music—often unfamiliar to you. The logical conclusion of this is a stagnation of the mind and the ear. Total nightmare.

Photographer Lucía Nimcová began traveling to the Ukrainian side of the Carpathian mountains in 2014 with the sound artist Sholto Dobie, where they documented potka (vagina songs), a raunchy subgenre containing coded language with which women could communicate secretly in the presence of men. Tone Glow talked to the artist.

"Incorporating everything from Mayan flutes to medieval choirs to ancient Mediterranean pots, contemporary producers are looking to the past to help unlock the present"- Pitchfork writes introducing their piece about a new wave of electronic music. "Shuttling between avant-garde contexts and popular celebrations", this new wave is "a link to the past that refused to be stuck there".

The New Yorker is welcoming people back to the office with an introduction of brand-new album 'Now, That’s What We Call . . . an Office!' comprised of eight one-hour songs. The funny album includes song titles such as 'Water-Cooler Chatter', 'Loud Work Call' and 'Printer Percussion'.

"With paintings, when you draw a body, you try to make your drawing look like the body more or less everywhere, even if it’s different from Africa to Asia or anywhere. Each time, you want to recognize something like a face or nose. But in music, it doesn’t exist" - Parisian composer and improviser Jean-Luc Guionnet says in a Tone Glow interview. He adds: - "I like to think that there was a deep crisis when language came, and music changed. Perhaps before, for example, a guy was coming back from somewhere, and wanted to describe the landscape that he saw yesterday. Perhaps he played music to imitate the sounds of this landscape, because he couldn’t say, because he didn’t have language. But when language came, it wasn’t useful to do that anymore. So then music appears".

Drums really can be used to convey speech - an award-winning new study published in the journal Frontiers in Communication shows. It proved Dùndún drumming, an oral tradition among the Yorùbá peoples of Western Africa which involves a special type of drum that, when used properly, can mimic the unique patterns and sounds of Yorùbá speech. So close is the resemblance that the instrument is sometimes referred to as the “talking drum”, Cosmos Magazine reports.

Looking for some quality experimental music? Tone Glow writers chose 32 albums from the year’s second quarter that they enjoyed. Their selection includes various albums: there's vocal jazz and Mongolian long song on Enji's 'Urgal'; Vanessa Rosetto's 'Legends of American Theatre' recorded from artist's New York window showing "a theatre deprived of curtain calls where people-watching persists"; Naoko Sakata's 'Dancing Spirits' characterized by "wilderness"; Neupink's 'Seaweed Jesus' which just might pass as hard-core hyper-pop; and plenty more unusual music.

"His endearing videos are part history lesson, part nerdy tech outlet, part philosophical soapbox" - Pitchfork writes lovingly presenting Hainbach, an old-machine enthusiast and music producer. "The project grew from his fascination with obsolete test equipment—everything from particle accelerator components to lunks of antique metal used in nuclear research to a dolphin-locating device once used by the U.S. Navy". When he collected plenty of those, he arranged them into towers, and recorded their sounds live, calling the album 'Landfill Totems'.