What's New? : 25 January 2022

Andy + Junior in discussion regarding the mighty SAULT.

SAULT — IIII (2019)
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Andy: It should be absolutely clear from the opening track ("Up All Night") that this collective is the next movement.  We didn't know it at the time, but they have appropriately not stood still ever since this came out.

Junior: Absolutely dude.  Prophetic as hell with "Foot On Necks" too — really the only commentary track on this album and nearly a full year before George Floyd (respect).  This isn't as political as they would become, though.
Andy: Do you like "Why Why Why Why Why"?

Junior: Of course, that shit slams so hard!  Reminds me of like a Prince song he gave away to Sheila E or something.

Andy: Would you consider Prince one of their biggest influences?  Andy would.

Junior: Yeah, I would . . . but like, more in spirit than actual sound.  This is way more sparse than P ever was.
Andy: That's very true.  Think I prefer the ballads, but that's probably not a surprise to hear.

Junior: No, I get why man.  "Masterpiece" and "We Are the Sun" are really pretty.  That's your bag.  I have to say: this album as a whole had zero indication of their full potential.  Almost feels like they cover too much ground in too little time.
Andy: Agree that it does come off a little chaotic and kind of directionless.  But not in the negative way that those labels might suggest.  More of like, "Huh, wonder what this is all about."

Junior: I get what you mean: it's a perfect table setter for what was to come.  At the time, it was just confusing because it was so dope and just came completely out of nowhere.
Andy: Key tracks?

Junior: "Up All Night" is my pick from this one.
Andy: Would add "Why Why Why Why Why" and "Masterpiece"

SAULT — 7 (2019)
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Junior: They have pretty much mastered the art of the killer opening track.  "Over" has shades of Liquid Liquid and that's the first instance of me wondering how much new wave has influenced Inflo's sound.

Andy: It is a fine point, indeed.  They have all of the classic righteous r+b touchstone influences.  But then you get irresistibly skeletal jams like "Smile and Go."  That one in particular reminds Andy very much of one of those classic ESG bass vamps that somehow become these totally catchy pop songs.  99 Records feels like a main influence going forward.
Junior: Dude, these rhythms are just undeniable!  Some of this shit sounds like vintage Dilla drums!
Andy: Think it hits a little harder on this album because it's actually their shortest record so far.

Junior: Is it?  Dang.  Quality over quantity.  I prefer this one over IIII by just a tiny bit.  I think "No Bullshit" pushes it over the top for me.  "Don't want your mind disease" is some cold ass shit to put into a chorus.  
Andy: Love the Heart of the Congos reference on "Threats."  One of their best tunes, Andy would think.  This was a noticeable step up in quality at the time and a truly surprising release.

Junior: Co-sign.  Key tracks?
Andy: "Smile and Go" and "Threats" are the ones that stick with me the most.  Would like to give a mention to "Friends" as well.  Maybe some shades of Sade there.
Junior: "No Bullshit" for me.  

SAULT — Untitled (Black Is) (2020)

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Andy: This is where it became clear that something extraordinary was happening.  "Dense and loaded" feels like a good general description for this and the next album.
Junior: Serious business, for sure.
Andy: There is so much language all over this record about loving yourself and understanding that the world will sometimes try to convince you otherwise.  Andy appreciates that so very much.  It fills the heart with hope.  There simply isn't enough contemporary music that digs beyond superficial self-positivity.  In that respect, this album is aimed directly at people of color, and understandably so, but also feels very life-affirming for anyone who has ever felt beaten down by "the establishment."
Junior: Honestly fuck "the establishment", Andy.  ACAB.  Nobody in a three piece suit ever did a fucking thing to earn our respect or trust, bro.
Andy: Well yes, but they find a way to put those sentiments into productive and poignant language.  And it has a good beat and you can dance to it☺.  Is this your favorite of their albums (so far)?

Junior: Even now, they've been so consistent that it's a hard call.  "Monsters" slams so fucking hard — that's maybe my favorite track they've yet done.  So, uhm, maybe???

Andy: The middle trilogy of "Us" / "Eternal Life" / "Only Synth In Church" felt like an instant classic moment for Andy.  That said, some of the interludes do seem a bit aimless and unnecessary.  I think it's interesting that the one non-commentary track ("Hold Me") is kind of one of the lesser moments on the record.

Junior: Yeah man, I dunno.  Tough call.  The highlights are just so damn good.  

Andy: And it does feel like nearly all of the proper songs are highlights in some way.  Really just terrific music.  Key tracks?
Junior: I got "Monsters", "Bow" with Michael Kiwanuka, and "Don't Shoot, Guns Down."  You?
Andy: "Eternal Life" (and its surrounding pieces) and "Wildfires" are the ones I go back to most frequently.
Junior: Sheeeit, add "Wildfires" to my list too!  Damn good album.

SAULT — Untitled (Rise) (2020)
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Junior: This is the one that finally sold me, so maybe this is my favorite.  So fucking epic.

Andy: Is "Strong" their best opening tune?

Junior: Another seriously tough call.  If it's not, it's definitely #2 on that list.
Andy: What even is that song?!!??!  Afrobeat-influenced Breakwater style modern soul, featuring a marching band drumline??

Junior: It's absolute fucking perfection is what it is, Andy.  You talked about the last album being very self-empowering, but that's the vibe I get from this one.
Andy: Yes, absolutely.  It feels like Black Is was the realization of that concept (or worldview) and this one is the mastery of it.

Junior: Yep, that's it!  You nailed it.  "Fearless" is playing in my head a lot recently whenever we're in unfamiliar situations.  That opening one-two punch kicks so much fucking ass — MAN!  Still blows me away.  
Andy: Would you agree if Andy said that, as far as production goes, this is their most fleshed-out and best sounding album?
Junior: Yeah, of the SAULT albums, definitely.  It slows down a bit in the second half, but it's not even like those songs dip in quality, just a more sustained vibe.  Mostly though, the grooves and heavier reliance on synths give it more of a super dope retro-80s feel in places.  Makes it feel like the songs can just go any direction they need to.  Really a lot more organic, and maybe a little less jammy than past material.  

Andy: It's Andy's favorite of the SAULT albums for that reason.

Junior: Understandable, dude.  Really thinking that's where I'm at too.  Like I can't even say anything else: it's a goddamn highlight reel.  For real.  
Andy: Key tracks?
Junior: I mean, a bunch.  Like half the damn album, bro.

Andy: Andy's picks would be "Strong", "Fearless", "Son Shine", "Free", and the beautiful closer "Little Boy."

Junior: All of those would be on my list.  I would add "The Beginning & the End" because it's a legitimate fucking Afrobeat jam.  Unreal.

SAULT — NINE (2021)

YouTube

Andy: The dip was inevitable, unfortunately.  

Junior: Yeah, but it's not even like this is bad either.  "London Gangs" the other contender for their best opener.  I almost expect Chuck D to start spitting a verse.

Andy: That would make Andy extremely happy.  This does feature their first (and, so far, only) proper hiphop song on "You From London?" (featuring a show-stealing performance by Little Simz).

Junior: Yes man, and that shit is dope as hell!  Basically saying, "Fuck off, we do what we wanna do."  It's appropriate that's on this record, too.  This is definitely a return to the angrier, more sparse and aggressive mood of Black Is.  Remind me later: we gotta check for Little Simz.  

Andy: And, also much like Black Is, it is very political.  At the same time, it is probably their most melancholy album, Andy should think.  It addresses street gang culture throughout London, perhaps explaining the mood.

Junior: Yeah, weird kinda dour overtone to this one.  I think that's why it just doesn't hit as hard: Rise was so confident and enthusiastic in its message, but here you get stuff like "Alcohol", "London Gangs", and "Fear" — all of which feel like the band kind of collectively throwing their hands up and going, "I dunno, but here's some more ideas."  But they're still able to make songs that are totally engaging.  Like, it feels like the craft is as good as ever.

Andy: Yes, would definitely say that there's an odd dynamic at work here.  But not to the album's detriment.  What did you think of the limited release?

Junior: Like . . . I think there's probably an uncleared sample on "You From London?" so they didn't want to risk getting sued (that's just a guess).  Glad we got it, for sure though.  It's still on YouTube for now.  

Andy: Wonder how it will be remembered.

Junior: I just think of it as "the next album that was also really good, but not quite as good."  Kind of like Fullfilingness was to Stevie. Key tracks?

Andy: "Bitter Streets" (one of their most gorgeous tunes, I'd say), "You From London?", and the title track.  How about you?
Junior: "London Gangs" and "You From London?"

Cleo Sol — Mother (2021)
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Andy: Think this is our first unanimous "album of the year" pick in quite some time.

Junior: Listen man, this is like the music that the Soulquarians begat.  
Andy: Agreed.  It is quite lovely and deeply resonating music.  Felt very much like a first listen instant classic.

Junior: And it just gets better with time.  Like the songs go off into these directions that you notice more details in with each listen.  

Andy: Also agreed.  It's a long album, too.  Over an hour.  Feels very much like a spiritual sequel to Mama's Gun in Andy's mind.

Junior: But also its own thing.  Like, I dunno, it has kind of a folky influence???
Andy: Would say, along with the expected influences by this point, this one definitely has a more pronounced 70s pop influence.  Did you like Rose in the Dark?

Junior: I mean, yeah . . . but it totally felt like "the side project", y'know?
Andy: Was just going to remark that the scope of this album easily eclipses any of her previous work, including with SAULT.  The title is a nod to the birth of her first child and it's accordingly her most personal work.

Junior: You know what's crazy?  Nobody official has ever confirmed that she's actually in SAULT.

Andy: Andy likes that a lot.  As if SAULT is the name of the creator of that music, period.  No individual members receive credit.  But it's easy to see why she would want to distinguish clearly between her role in SAULT and records like this one.  This is definitely not SAULT.

Junior: Definitely not.  At the same time, I feel like it's the complete potential of that collective fully realized for the first time.

Andy: Andy's favorite of the catalogue thus far.

Junior: I feel like I could just keep talking generalities about how fucking good it is.  Because man!  Front to back listen, every time.

Andy: Agreed.  So very full of so many beautiful harmonies and reminiscent of so many classic sounds.  But also very fresh because of how restlessly gorgeous it is. Rewarding listen every time, Andy would like to add.  Key tracks?

Junior: Man, like ninety percent of the damn album!!  That said, I really dig "Don't Let it Go to Your Head" and of course "Music" is probably my highlight (whole thing is dope, but that second half is just . . . shivering good).  Yours?

Andy: "Music" also Andy's overall highlight, but also agreed that it is another "highlight reel" of an album.  "Build Me Up" has got to be one of the most spiritual songs Andy has heard in quite a long time (and the outro sounds like a lost Dilla beat).  "We Need You" is a favorite if for nothing else than the phased out guitar (but the coda is one of the record's most resonating moments).

Junior: And I mean . . . the first two tracks ("Don't Let Me Fall" and "Promises").  When I first heard this and it opened like that . . . just, goddamn.

Andy: Yes, agreed.  We've now named about two-thirds of the record and it still feels like we haven't covered all of the highlights.

Junior: Told you, man.  Andy was right: instant classic.

Listen to these records a lot.  They fucking jam.— j.

What's New? : 24 January 2022

Hi, friend.  Thank you for being here.  What's new? is something we started to get some quick thoughts out about music we had recently listened to.  As we became more aware of ourselves and became even more split, it became too difficult to try and continue.  We never stopped checking out music of course, as it is the most important thing that presently exists.  It has been brought to Andy's attention that I still have a lot to say about music and that perhaps it would be beneficial to start things up again.  It would be impossible at this point to run down all of the things we have checked out and have been deeply into during the interim, but if you look through the archives of the column, I don't think it would be any surprise to hear that it's been a little bit of everything.  As such, we will be going through the past year or so of acquisitions over the next little while.  So, on we move.  Please excuse the interruption.  Time, as a smarter man than myself once said, makes fools of us all.

Going to look at some New Americana today.

William Tyler — New Vanitas (2020)
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It's hard to know what to say about an album like this.  It is definitely better as a whole and feels absolutely like the individual songs form to make the complete piece.  In more recent times, WT went for a larger, decidedly Technicolor presentation of his tunes.  But, on this surprise release, he goes back to a more stripped down, one-man approach that recalls Behold the Spirit or Deseret Canyon.  It was released in the final weeks of a brutal 2020 summer and it's hard to think of it as anything other than an album created by the COVID-19 pandemic.  It's meditative and stirring, lo-fi and often hauntingly beautiful.  More than one of the song titles makes reference to an afterlife of some sort and it doesn't strike Andy as anything except a very melancholy record overall.  Definitely recalls some of the most resonating sounds of WT's biggest influences, but also manages to incorporate the Krautrock accents of his more recent work.  Very singular vibe throughout; the sound of a guy sitting alone and just playing while trying to sort out some rather difficult thoughts.  Extremely comforting music, in that sense.  Junior called it one of the parts of "the soundtrack to the beautiful apocalypse" and Andy finds that a pretty good summary.  Where it succeeds is in its hope.  Initially released as a digital-only album, it was "reissued" about six months later on vinyl for Record Store Day.  Key track: "Four Corners"

Six Organs of Admittance / William Tyler — Parallelogram (2015) 
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Part of the Three Lobed label's Parallelogram series, this finds WT sharing a 12" with sympathetic fellow traveler Ben Chasny.  I've always enjoyed the Six Organs stuff I've heard in passing, and his sidelong multi-movement lo-fi dronescape "Lsha" is no different.  It's a good indicator of what he does, as far as I know, but it doesn't really get me excited to check out more.  WT's side of the record is taken up by two of his vintage longform multi-layered pick sessions.  Feels like he was purposely going for a "trippier" sound with these two tunes and I have to say that it all sits extremely well as extra material for when Andy just can't get enough of Impossible Truth.  "No Marigolds in the Promised Land" gets a little more intense towards the end, while "Southern Living" paints a very bright picture of a lifestyle that feels simultaneously ancient and futuristic.  Extremely nice while it's playing and one for the completists who just have to have more.  Key track: "Southern Living"

William Tyler + Marisa Anderson — Lost Futures (2021)
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Another pandemicwave creation, this finds WT teaming up for a proper collaboration with Pacific Northwesterner Marisa Anderson and the results are just about as eerily pretty as New Vanitas.  There seems to be a bit more tension at work in these songs when compared with that album and I have to wonder just how much has passed me by in Marisa Anderson's previous catalogue (this is our introduction to their music).  This definitely feels like the soundtrack to something intense and unlike anything WT has laid down in the past — how much of that is MA's personality coming through?  The songs all have a very defined theme and progress accordingly; not a whole lot of meditating on moods (except for the noise drone "Something Will Come", which is probably the one track I'd toss out).  For WT, it's a very unique move and a completely unseen one.  However, again: this could be the standard for MA.  Whatever the case, it's good, very satisfying, and is bookended by two of WT's best tunes thus far.  Makes me interested to see what will happen next.  Key tracks: a fully fleshed out revive of "News About Heaven" (originally appearing on New Vanitas) and "Haunted by Water", as genuine a Grateful Dead pastiche as they come I'd say 

William Tyler + Luke Schneider — Understand (2021)
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And one more collaborative effort from WT, this time with fellow Tennessean Luke Schneider.  This one was released as a limited cassette (okay, sure- insert "lol" emoji) on the experimental Los Angeles-based label Leaving Records.    The music is easily the most cosmic and starbound WT has yet been associated with and it finds him sitting down at the keyboard for a few turns, while LS adds wonderfully atmospheric pedal steel and banjo accents.  Although only four songs and clocking in at a too-brief 24 minutes, this is (as of this writing) the most recent material WT has recorded and it is about as promising as I would imagine it could get at this juncture.  The pandemic has done us all in and this is the kind of music you put on your headphones, turn all the way up, and just fuck off for a walk to.  Heck, there's even an update of WT's now-classic "Highway Anxiety" that completely bubbles over with good vibes (it's appropriately retitled "No Trouble" here).  Proof that the darkest times need the most beautiful soundtracks.  Am perhaps setting myself up for disappointment, but I do hope this isn't a one-off collaboration.  Probably my favorite thing he's done since Lost Colony.  Can WT miss?  Key track: "No Trouble"; I mean dang, that's a tune

Sam Prekop — Comma (2020)
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Sam Prekop seems to have entered a later phase where he just does whatever, whenever, and however he feels like.  After the unsurprisingly strong Any Day, the Sea and Cake has been on hold for some years now; their releases were slowing down significantly anyway.  Sam's own albums have been strictly modular synth-based ever since Old Punch Card just flew in from nowhere over a decade ago (I'm old).  Check in on him via social media these days and he's taking his beautifully idiosyncratic photographs or wading through a spaghetti pile of patch cables and showing off his found sounds from his arsenal of synth gear.  Comma continues along the more accessible path first hinted at on The Republic and I have to say: besides his first solo album, this is probably his best work under his own name.  It sounds nothing like the Sea and Cake and is totally instrumental.  If I had to liken it to something, it very much reminds Andy of the pleasantly weird mid-70s albums by Cluster or maybe the famous 5 EP by Slowdive.  Where Sam's synth stuff has been more on the reflective, fully ambient side of things in the past, Comma focuses a lot more of its energy on drum tracks and proper rhythms.  When that four-to-the-floor stomp finally lands on the opener "Park Line" it feels like a wholly natural and totally rewarding progression from where he last left off.  It's extremely pleasant music and I often think of it as the kind of music I hear in my best dreams.  His creative spirit and drive to just continue making some of the damned prettiest music around are truly something to behold, especially in these times.  Key tracks: "September Remember", "Summer Places", and the closer "Above Our Heads" which sounds like the epic end credits theme to a lost Nintendo 64 game 

~~~~A SHORT INTERLUDE~~~~
Sam was busy over the past year.  In addition to Comma and its little brother discussed below, he also released the digital-only twenty-five minute track "Spelling", via the Australian Longform Editions label: Bandcamp Spotify YouTube.  It's a bit of a departure, as it's just one long vamp with a lot of doodling.  Still no less pleasant than anything else he's done recently.
~~~~BACK TO THE PROGRAM~~~~

Sam Prekop — In Away (2021)
Bandcamp

A digital-only release everywhere except Japan, this CD version features an extra track not available elsewhere (mine also came with a glossy postcard print of the cover art; okay Andy is done gloating about my cool CD now☺).  Recorded immediately after Comma was released, there aren't any drastic stylistic turns away from that material, so it sits very nicely as a related companion piece.  Both records back-to-back run just over an hour, so that's how I find myself listening to this stuff most of the time.  That said, I definitely prefer the three closing tracks (one of which is the Japan exclusive "Sunset"; okay that's the last of my gloating, I promise☺).  All three are easily highlights of Sam's synth material so far and some of his most soothing songs to date.  Wonderful music.  Endlessly enjoyable.  Key tracks: "Community Place", "So Many", and "Sunset"  

We'll try to be a bit more frequent about these going forward.  Thank you.💙

What's New?: 8.11.2015

Indies!

La Luz — It's Alive (2013) YouTube Spotify

Surf pop sounds from Seattle.  Very B-52's.  Except with more harmonies.  Pretty good stuff, actually.  It's very easy to get distracted by the twangy reverb and surf organ sounds of the band, but those sounds wouldn't get very far without great song craft to back them up.  And it's there among the fantastic drumming and precise harmonies that you will find something worth going back to every single time.  The band's shtick never runs dry, and instead, these ladies seem to find genuine and unique inspiration in a style once deemed kitschy and throwaway.  Wonderful stuff.  And the new album is even better.  Key tracks: opener 'Sure as Spring' and the otherworldly 'Call Me in the Day', which bends and melds the surf sound into something modern and altogether new

Lilys — Selected (2000) YouTube Spotify

Shoegazey sounds from Washington DC.  If I've read a thing or two about these guys it's that they've changed sounds as often as they've changed band members — which is to say, very often.  This EP collects up some recordings of "old" songs from the band's past catalogue that never found their way onto any proper album.  It's decent.  Not sure if it's that great of a first impression, but it's not awful, that's for sure.  Key tracks: the twelve string lead on the opener 'The Any Several Sundays' and the seven minute epic 'Won't Make You (Sleepy)'

Cruel Summer — self-titled (2013) Spotify BandCamp

Kind of a jangly shoegaze sound from San Francisco.  Modern dream pop done right, basically.  All of the songs kind of fire on the same cylinder, so it may come off as a bit samey at first.  But, listen deeper and there's layers to these tunes which allow for something like the emotional centerpiece 'Venetian Blinds' to come to the forefront.  Really great stuff; wish they would release something new.  Key tracks: the wonderfully affecting 'Venetian Blinds' and the noisy 'Skinwalker'

Monster Treasure — self-titled (2014) Spotify BandCamp

Wouldn't this album have kicked major ass in 1994?  It's aloof, lowly mixed in vocals, recorded live sound and one size fits all guitar distortion would have been real crowd pleasers twenty years ago.  Now, it sounds like a deeply nostalgic trip back to a time when something could simultaneously be noisy as hell and melodically accessible without there being any problems with such a thing.  The rapid fire nature of the sequencing and similar production are kind of to its detriment, but it does make the really good songs stick out with relative ease.  Of course it doesn't hurt that the album's highlight is the melancholy 'Bill Evans', which name drops one of Bill's best ever tunes.  Good one, ladies (and fella) — certainly didn't see that coming.  Key tracks: 'Bill Evans' is really the one that sticks out

Lorelle Meets the Obsolete — Chambers (2014) Spotify BandCamp

Hailing from Guadalajara, Mexico, this is more on the noise rock end of the spectrum, but it's also got a definitely trippy shoegaze quality to it as well.  Songs, too!  Riffy songs for days.  It kind of has a fuzzy, 60's garage sound to it in spots that really ups the trippiness.  Vocals with lots of a echo and reverb on them and warmly distorted basslines are the order of the day here.  It is kind of one-dimensional, but that dimension is a rather intriguing place, so I can dig it.  Key tracks: the opening manifesto 'What's Holding You?' and the slow burning 'Grieving'

Ganglians — self-titled (2009) Spotify

Lo-fi pranksters from Sacramento.  Some of these guys went on to form Fine Steps, and then later Tiaras, so I thought I'd get a little history on where some of my favorite recent finds came from.  Some good songs, some free for all nonsense.  When something is this lo-fi, it becomes an issue of not actually being able to hear everything because there's so much distortion.  So, bummer.  But, the quieter moments offer some peculiar tunes.  Key tracks: 'Hair' and the most tuneful the album gets on the closer 'Stuck Under Town'

~Austin

What's New?: 8.6.2015 Part Two

Music to accompany your beard by.

James Elkington + Nathan Salsburg — Avos (2011) Spotify

The mighty Jim Elkington finally makes a triumphant return to RC!  This thing's miles away from the Zincs, however.  An acoustic guitar duets record, it's appearance on the fancy Tompkins Square label slipped me by four years ago, but that's rectified and all is now right in the universe.  The conversations that Elkington and Salsburg have are (perhaps surprisingly) direct.  Something like 'A Free Amft' is catchy as heck, while the two part 'The Blurring Cogs' splits its duties between technicality and beauty.  'Scarborough Fore and Aft' has an elegant chord change; the type of which makes sitting through the whole record worthwhile.  Darn good stuff, but that's kind of what we expect from Tompkins Square.  Key tracks: 'A Free Amft', 'Romany Belle' and 'Scarborough Fore and Aft'

Alexander Turnquist — Flying Fantasy (2014) YouTube Spotify

Reminding me of a more ethereal Leo Kottke on twelve string, Alexander Turnquist builds huge walls of pure sound using his guitar as the foundation upon which vibes, marimba, Hammond B3, French horn, cello, violin and even chanting vocals construct stark beauty.  There is a bit of a rainy day vibe to this album, but there's always a satisfying chord change beyond the current one.  Check out the deep, meditative title track for a big moment on the record.  Gorgeous, truly.  I'm in need of the rest of his catalogue.  Key tracks: 'House of Insomniacs' and the stunning title track

Glenn Jones — Barbecue Bob in Fishtown (2009) Spotify

Been kicking around since the late 80's and a band called Cul de Sac, Glenn Jones is a direct descendant of the John Fahey/Will Ackerman school of American Primitivism.  Only difference is that Glenn plays banjo every once in a while and, just as an opinion, I would say leads with his head more than his heart a good portion of the time (at least on this album, anyway).  Which is not to say that this music is too technical for its own good —the deep chords and redemptive changes of '1337 Shattuck Avenue, Apartment D' are immediately resonating, for instance— it just gets a little cerebral every so often.  He has many albums; this is his third proper solo.  I've got my work cut out for me.  Key tracks: '1337 Shattuck Avenue, Apartment D', the title track and the banjo track 'Keep it a Hundred Years'

Glenn Jones — My Garden State (2013) Spotify

Inspired by the New Jersey house he grew up in, this is far more heartfelt than Barbecue Bob.  Maybe because the subject matter was so much more closer to his heart is why this one resonates with me a little more.  Maybe the tunes are just a smidgen better.  Couple of duets (one with Laura Baird on banjo, one with Meg Baird on guitar), couple improvised tunes, lots of odd tunings (which are detailed in the liner notes) and it's another solid effort.  Key tracks: 'Like a Sick Eagle Looking at the Sky' and very Fahey-esque 'Bergen County Farewell'

Glenn Jones — The Wanting (2011) YouTube Spotify

Probably the overall prettiest of the Glenn Jones albums I've picked up recently, it's also probably the most melancholy.  The tunes just take these swooping, emotion-filled turns at every chord change.  The kind of which sound so right, you'd swear you've heard them before, but they're in such odd tunings and partially capo'd all over the place (yes, partial capoing is a thing, apparently), it's a long shot that you have.  On all of these albums, Glenn puts his personal contact information inside (physical address, phone number and email) and, on this album, even invites you to "get in touch."  Really seems like a cool guy.  Key tracks: the peaceful 'Of its Own Kind' and the epic seventeen minute closer 'The Orca Grande Cement Factory at Victorville', which is a duet with drummer Chris Corsano

Mark Fosson — The Lost Takoma Sessions (mid-1970's)

"Best demo tape I've heard since Kottke" wrote John Fahey on Mark Fosson's demo reel.  "Sign him quick," he adds, which is underlined.  And Mark is definitely in Kottke's sphere, as far as twelve string players go.  Just check out the quick muted harmonics on the opener 'Jubilaya' for a quick litmus test.  He plays themes, mostly, and doesn't stray too far away from them.  The centerpiece 'Gorilla Mountain' is the exception to that rule, as Mark plays in an odd strumming pattern that seems to be blossoming these impressionistic chords up like new growth in the spring.  Beautiful music.  Key tracks: 'Gorilla Mountain', 'Jubilaya' and surprisingly catchy 'Sky Piece'

~Austin

What's New?: 8.6.2015

Another grab bag!

kandodo — k2o (2013) Spotify

kandodo is the one-man drone project of one Simon Price.  Though far more psychedelic and lo-fi than most drone outfits, Price's idea of drone seems a bit more theatrical than your standard fare and his subtitling of 'swim into the sun' "a film for the ear" makes total sense.  'kandy rock mountain' overcomes an unnecessary blaring intro to be the album's rightful centerpiece.  This vinyl pressing came with a limited run bonus 7" of two extra songs that only enhance the experience.  And I do mean, "experience" man.  Because, yeah, heady stuff.  Key tracks: 'kandy rock mountain' and 'grace and'

Jessamine — self-titled (1995) YouTube  Spotify

Hard to see in the above scan, but it's there.   Decidedly gnarly noise rock with softy guy/girl vocals.  It really goes for the pretty/noisy dynamic, but's way too lo-fi to be shoegazey.  You just know that the songs are going to explode into shambling distortion and feedback at some point.  Totally "90's bro" in that respect.  Also, a bit predictable (but haha at me, as the album's highlight is a nine minute near drone that eschews all that called 'One Trick Pony' — you got me, guys).  Fancy original clear vinyl pressing on the great kranky label, it unfortunately excludes some tracks that were on the CD due to length issues.  Key tracks: 'One Trick Pony' and the closer 'Lisboa' which sounds like a lo-fi Stereolab, if you can believe that.

Fontanelle — self-titled (2000) Spotify

Would you believe that some of the same noisenicks from Jessamine would go on to form the polished jazz fusion group Fontanelle?  Funky drumming and mostly keyboards riffing on themes.  All the tunes here —hell, all of Fontanelle's tunes not on Vitamin F— are basically vamps.  This one has guitars on it, too.  So, it sticks out a little because of that.  Otherwise, these early Fontanelle albums are basically interchangeable.  The liberal use of wah wah on the closer 'Counterweight' proves they were Miles disciples from the get go.  Key tracks: the funky funky 'Reflex vs. Parallax' and the floaty '29th and Going'

Fontanelle — Style Drift (2002) Spotify

Probably the band's most polished effort as the guitars are all gone and it's all keyboards and drums.  There's still a much looser feel to the band than where they would go in a decade's time.  And while the ten minute title track does it's darndest to be the album's big centerpiece, it's actually the shorter pieces like the eerie 'James Going' and 'Red Light, Green Light' that steal the show, just based on tunefulness.  Key tracks: 'Just Go Crazy', 'James Going' and 'Red Light, Green Light'

Fontanelle — F (2001)

Not to be confused with their later opus, Vitamin F (2012), this 2001 album again has no horns.  Lots of squelchy, bleepy, bloopy electronic keyboardy sounds though.  Still some guitars in the mix, as well, and getting kind mathy on 'Floor Tile.'  Opener 'Fulcrum' is a fun, multi-movement thingy, while 'Charm and Strange' ventures back into wah wah land.  Key tracks: 'Fulcrum' and the genuinely resonating 'Slow January'

Various artists — Hotflush Presents. . . Space and Time (mid-2000's) Spotify

Hotflush in the pre-Mount Kimbie days was as hot a dubstep label as they got in London.  WUBWUBWUBWUB and how do you do from Jazzsteppa, right off the bat?  Boxcutter's 'Philly' is more of a funky house take on the style and it totally owns.  I think I dig the more boundary pushing stuff like Scuba's totally 80's-sounding 'Inmost' and Boxcutter's reflective, Burial-ish 'Infraviolet' more than your average 'choon, but conventional stuff like Slaughter Mob's 'No Big Deal' still goes down just as smooth.  Love the introspective tone that about half of the tunes here take on.  Great stuff.  Key tracks: Vaccine's dreamy 'Wishful Thinking VIP', 'Inmost', 'Infraviolet' and 'Philly'

Pink Floyd — The Wall (1979) YouTube  Spotify

Blasphemer that I am, I can't give this one a fiver.  It's too up its own butt, but you knew that already.  As an autobiographic piece of work about Roger Waters' youth, it can be quite affecting.  Instead of going for sidelong epics the way they did the previous two albums, this album is a more song-oriented affair, but this becomes a problem on disc two, with too many forgettable tunes being placed behind the narrative.  It's only on familiar ground like the deep, spacey 'Comfortably Numb' that things get realigned and substance matches execution.  Is it good?  Yeah, but not without its obvious flaws.  Not sure what else to say about this that hasn't already been said.  David Gilmour's delayed out guitar is fun when he utilizes the effect, recalling John Martyn's spaced out explorations.  Key tracks: 'Another Brick in the Wall' trilogy, 'Comfortably Numb/The Show Must Go On' and 'Hey You'

Peter Gabriel — So (1986) YouTube

'Sledgehammer'!  'In Your Eyes'!  'Big Time'!   Holy hell, this album is loaded with hits.  Big hits, at that.  It's got that nostalgic (for me) production value that I remember from my childhood radio listening: big, gated drums, layers of synth and gratuitous bass sounds — totally 80's, man.  And hey, lookah there, Kate's on it!  I love the melodrama, the cheesiness.  But, is it really cheesy?  I mean, it's dated, but there is a sense of Peter delivering most of it with a sly wink, as if he knows some of it is a bit over the top.  And side two of the album dives right back into the artsiness of Peter's earlier works, so he knew exactly what he was doing.  And when 'In Your Eyes' closes out the entire thing, it feels entirely sincere.  Probably my favorite Peter Gabriel album.  Key tracks: any of the singles

~Austin

What's New?: 8.5.2015

Grab bag!

Will Ackerman — Sound of Wind Driven Rain (1998) YouTube Spotify

Will's almost done with Windham Hill at this point.  In a few year's time, he would go on to start his Lifescapes label.  Which is not to say there's a big change in his sound.  A few guests here and there and a couple vocal tracks, but this is straight ahead later Will Ackerman: kind of cheesy, but tuneful nonetheless.  As always, I prefer the solo Will pieces, but the bigger band (six pieces, including vocals!) on the revisit of 'Hawk Circle' is pretty effective.  Certainly not his best anything, but good if you already know you like it.  Key tracks: the solo pieces!

Arthur Russell — First Thought Best Thought (mid 1970's/early 1980's) Spotify

Mostly known for his disco productions, this two disc set of early Arthur Russell recordings has an ambiguously funky, genre-less feel to them.  This is my first anything by Arthur, so imagine my shock when I was greeted with this at the beginning of disc one.  Whoo doggie!  There's so much beauty in these recordings, from soulful incidental funk, to modern composition, there's a ton of stuff just in the "Instrumentals" section of disc one that had no business existing in 1975.  Disc one closes out with the sixteen minute piece for two fender rhodes (!!) 'Reach One.'  Absolutely gorgeous stuff.  Disc two is handed over for the majority to Arthur's rare 1983 album Tower of Meaning.  It's all strings and woodwinds, with a few bits of hand percussions and it's kind of a hard nut to crack.  Finally, you get the really trippy 'Sketch for the Face of Helen' to finish things off.  What a wonderful package of completely unpredictable music.  Key tracks: the "instrumentals"

The xx — self-titled (2009) YouTube Spotify

Where was I when this first came out?  Well, we're not always there when everything first hits.  This is strikingly tight music; a sort of jangle pop with hip hop beats instead of a live drummer.  It's a combo that shouldn't work, but does — exceedingly well.  The guitar tones are pure 80's jangle pop, so that's instant love from me.  Romy's voice reminds me of Sade's at certain points, so that's no bad thing either.  But there would be nothing if the songs weren't as catchy as they are.  There's an understanding of space at play here, as well, that forces the reverb on the guitar to fill things out and that's a lovely sound.  Formulaic, maybe, but if it's not broken, y'know.  Also, dance party.  Key tracks: 'Crystallized' and the super dreamy 'Infinity'

The xx — Coexist (2012) YouTube Spotify

The group's second album doesn't stray far from the foundation established on the first, but that doesn't really hurt them because everything remains as tightly played as ever.  If there's anything all that different about this album, it's a more delayed, lush guitar tone.  Can't be mad at that.  Key tracks: the building 'Reunion', yearning opener 'Angels' and the deep house groove on 'Swept Away' which picks things up on the otherwise glum second half of the album

Date Palms — The Dusted Sessions (2013) Spotify

I guess the kids call this sort of thing "drone" music.  Not sure what separates it from straight up ambient music, but I be darned if it ain't just as wonderful.  It's definitely got structure, with long, circular melodies, so there's no room here for improvisation, as much as the instrumentation seems to propose it.  The combination of heavily delayed electric guitar, pedal steel and tanpura (don't worry, I didn't know what it was without looking it up, either) give the music a very airy feel and I have to say that the cover art fits perfectly.  This music definitely recalls hot, dusty, lonesome highways and a fuzzy brightness that simply exists, even when you close your eyes.  Headphones highly recommended.  Key tracks: the eleven minute opener 'Yuba Source Part One' is the perfect manifesto for what the group does

Paul Gonsalves — Ellingtonia Moods and Blues (1960) Spotify

Paul Gonsalves has long been one of my favorite tenor players.  This album features Paul leading a smaller group alongside fellow Ellington band mate Johnny Hodges on alto.  Nothing all that great occurs, but everybody's clearly having fun.  Key tracks: 'The Lineup' and the lone ballad 'Daydreams' which finds Paul slipping in some surprisingly dissonant lines

Juana Molina — Tres Cosas (2002) YouTube Spotify

Rescued from a library rummage sale, this well-used copy of the album cost me all of two bits.  It's mostly a calm and acoustic, strummy affair with one arguable hit in the form of the exquisite 'Sálvese Quien Pueda.'  Juana is one of the modern masters of the loop station, so she builds these layers of harmonic beauty before your very ears.  It's a trick that never gets old.  Especially when things are as pretty as they are here.  Key tracks: 'Sálvese Quien Pueda'  —for extra credit, check the Four Tet remixes ("ugly" and "pretty") and "Juana's Epic Re-version" (which is arguably better than the proper album version)— the harp feature on 'Curame' and the closing piano ballad (sung in French) 'Insensible'

~Austin

What's New?: 8.4.2015

Calming sounds.

Labradford — Fixed :: Context (2000) Spotify

Modern ambient sounds from Virginia, this is actually the group's final album (well, so far, anyway).  It's very quiet music that builds, but never really releases its tension.  Just have a listen to the eighteen minute sidelong opener to get an idea of what I'm talking about.  It's mostly guitars making the sounds, with a smattering of low key electronics and keyboards (dig that fender rhodes there, fellas).  It does feel kind of samey after a while, like maybe the songs are just one long intro.  But hey, when something's as lovely as 'Up to Pizmo' you won't find me complaining.  Kind of like a sparser Sigur Rós, without vocals.  I can dig it, especially at three AM.  Key tracks: the gorgeous 'Up to Pizmo' and the melancholy closer 'Wien'

Pan American — 360 Business / 360 Bypass (1999) YouTube Spotify

Mark Nelson's concurrently running project to Labradford can be a bit more song-oriented at times, or sometimes just as ambient.  Also, he sings.  The opener is a ten minute ambient techno workout, which melds into the dreamy sound collage turned proper song 'Code.'  Deep, ambient house grooves pop up later on and there's not much more to say other than that this is mood music.  Key tracks: 'K. Luminate' and the dubby jazz on the twelve minute closer 'Both Ends Fixed'

Pan American — Quiet City (2004) YouTube Spotify

This one starts off with unmistakably Labradford-esque guitar arpeggios on 'Before', but don't think Mark is rehashing his old band's ideas because the very next track is the ambient dub trip 'Wing.'  Song lengths are overall shorter this time out, with only two of the album's eight tracks venturing off into 8+ minute territory.  It's less beat-focused than 360 Business / 360 Bypass and Mark takes a few more vocals than before (mostly just whispering), making this is an even calmer affair.  Key tracks: the gorgeous centerpiece 'Skylight' and the redemptive closer 'Lights of Little Towns'

Pan American — Cloud Room, Glass Room (2013) YouTube Spotify

If you hadn't guessed by now, all these PanAm albums are really similar-sounding and are a definite acquired taste, but if you like that sound, you'll like 'em all if you like one.  The sound of this album is a bit more poppy, but the average song length is about six minutes, so Mark did away with any chances at accessibility.  'Relays' has a really nice little ambient house bass groove to it.  Key tracks: 'Relays' and the noisy closer 'Virginia Waveform'

Stereolab — Instant 0 in the Universe (2003) YouTube Spotify

This is basically the single for '...Sudden Stars.'  It's definitely of a piece with Margerine Eclipse, but maybe a bit more bouncy in overall mood.  Is it just me or does the clavinet on the middle portion of 'Mass Riff' sound vaguely like 'Superstition'?  Helluva tune, in any case.  Short and sweet, like all of the Groop's EPs.  Key tracks: the bookends '...Sudden Stars' and 'Mass Riff'

Steve Tibbetts — Natural Causes (2010) YouTube

This guitarist has been kicking around the ECM roster since the early 80's.  And like a lot of folks on the label, what he plays can't rightly be called jazz, nor classical, nor new age, but it has shades of all three.  Have a listen to the multi-movement 'Padre-Yaga' to get an idea of what he's up to.  Marc Anderson accompanies on hand percussions of all sorts throughout.  It kind of has that Michael Hedges quality to it where it might appear to be simple background music, but is actually quite challenging when you focus your listening.  Not quite in the Fahey-esque school of acoustic picking, either, as it's a bit too ethereal for that.  Whatever, some really gorgeous playing, melancholy as it may be.  Very soundtracky, as well.  Key tracks: the steel drum-enhanced 'Lakshmivana' and the appropriately titled closing tracks 'Lament' and 'Threnody'

Abdullah Ibrahim — Cape Town Revisited (1997) YouTube Spotify

The great pianist Abdullah Ibrahim in a live trio setting and from the opening notes, I've rarely heard him sound happier — and that's saying something for this guy.  The three part suite 'Cape Town to Congo Square' is the centerpiece here: part one (the funky as all get out 'African Street Parade'), part two and the redemptive third part.  There's a reason I buy up everything I see when it comes to this guy.  He's one of the most unique voices to ever play his instrument.  Just purely happy music, guaranteed to put you in a good mood.  Key tracks: the 'Cape Town to Congo Square' trilogy, 'Water from an Ancient Well' and a funky version of 'Soweto'

The Lilac Time — Paradise Circus (1989) Spotify

It's been too long running that the only Lilac Time album I've had was the first one.  Where that first album had a bit of a folk rocky slant to it, this second album is a much more produced jangle pop affair.  The pedal steel and pizzicato layers on 'If the Stars Shine Tonight' is a good indicator of what's going on here.  Elsewhere, lots of accordion and banjo.  The big, emotional centerpiece 'Father Mother Wife and Child' is worthy of a listen.  Overall, nothing all that amazing happens, but the tunes are all solid (maybe a tad overproduced, but it was 1989, after all).  Key tracks: 'Father Mother Wife and Child' and the opener 'American Eyes'

~Austin