Ben's Album Picks

Blitzen Trapper- "American Goldwing"

With American Goldwing, Blitzen Trapper continues to refine their sound, equally indebted to modern indie and music from the golden age of rock n' roll Americana, owing as much to The Band as they do Pavement, and, with this latest step in their sonic evolution, perhaps more. Goldwing is profoundly a road-trip kind of record, with huge melodies best suited to wide-open skies viewed from the highway, to the point that many of the songs feel as they could have been easily inserted into Easy Rider without the slightest bit of dissonance.

Seventies Southern Rock is clearly the most important sonic touchstone for this album, with The Band, and, surprisingly enough, Lynyrd Skynyrd (in the period long before Ronnie Van Zant died and the group devolved into self-parody). In fact, on many of the faster numbers, such as lead-off track “Might Find it Cheap” and “Your Crying Eyes” traffic in the sort of swaggering boogie-rock that, at their peak, Lynyrd Skynyrd served as the paramount of.  The influence of The Band surfaces frequently as well, especially in the slower, more ambling songs such as “My Home Town” and “Love the Way You Walk Away.” These tracks amble along, as if engineered for lost afternoons spent in whiskey-soaked small town bars.

Of course, if this album consisted of nothing aside from homages to Ronnie Van Zant and Robbie Robertson, it wouldn't be particularly interesting for anyone aside from genre die-hards, so in addition, elements of a great variety of bands that only very loosely fit the definition of “Americana” are to be found scattered throughout. The title track sounds like a sort of collision between Pavement and American Beauty era Grateful Dead, while “Taking it Easy Too Long” is such an authentic sounding take on straight, sun-drenched country that it could have been performed by Willie Nelson and there'd be little apparent difference aside from the occasionally weak vocal turns to be found here.

Ultimately, American Goldwing is an album that's content to live mostly in the past, even the song titles taking on a lived in, faded feel (“Your Crying Eyes,” “Street Fighting Sun,” “My Home Town”). There are occasional moments of exhilaration when Blitzen Trapper either transcends the sum of their influences or hits on a pitch-perfect homage, but perhaps this album would be best suited to that aforementioned road trip, when all that matters is that there's something on the stereo that feels right for the road.

Week of 9/5/11

Girls - "Father, Son, Holy Ghost" Girls have been, up until this point, a band that is seemingly easy to write off. A lead singer whose only mode seems to be “heart-on-sleeve,” with a back-story rife with cults and addiction that, early on, threatened to overtake the music. Of course, in writing off this particularly “buzzy” seeming band, you come up against one major obstacle: the songs. Since their debut, Christopher Owens' work has demonstrated a near-singular infatuation with every possible genre and permutation of pop music one can imagine, and Girls now seem to be slowly working their way through as many of those as they can muster. Where the debut seemed more concerned with pop forms of the nineteen-sixties though, Father, Son, Holy Ghost interfaces largely with seventies radio fodder. The addictive and surf-y lead single and first track “Honey Bunny” nods to their sound on Album, while second track “Alex” calls to mind early Elvis Costello. Costello and his confused, narcissistic yearning that occasionally verges on self-aware misogyny are clear stylistic touchstones for Owens, as is the druggy acquiescence of Spiritualized. However, aside from those two particularly important influences, sonic cues can come from seemingly anywhere. Sharing a melody with Deep Purple's “Highway Star,” “Die” is an apparently straight-faced tribute to the proto-metal dinosaur rock that Deep Purple so defined. This potentially off-putting track is salvaged by an absolute commitment to sincerely emulating the druggy rawk it self-consciously apes. The genre eclecticism continues with the shuffling, downcast country rock of “Saying I Love You” and the lap-steel inflected, gospel-touched lament of “My Ma.” The Girls  legend rears its head once again on the latter, as anyone aware of the disturbing circumstances of Owens' upbringing can practically feel the yearning in this one. It's built, like much of Girls' music, on a foundation of absolute, wrenching, conflicted sincerity, a sincerity struggling to make itself known through an opiate haze. The sort of Spiritualized indebted heroin gospel hinted at on “My Ma” comes to full fruition on “Vomit,” a track that simultaneously recalls the aforementioned band's druggy despair and Pink Floyd's colossal, spacey grandeur. “Just A Song” is a welcome respite from the guitar squall, gospel wails, and impossible grandeur of “Vomit,” built instead out of delicate classical guitar figures, strings, and even a little flute alongside Owens' slow, jangly chords. The album's surprising devotion to fidelity becomes particularly apparent here, with every element, from the brief snatches of violin Owens' resigned, yearning voices given immense attention, mixed to near perfection. The downcast turn the album has taken over the last several songs is halted somewhat by “Magic,” a three minute slice of sunshine pop that could be a radio hit at just about any time in the last forty-five years of radio rock. The album is rounded out by a three song set, beginning the eight minute long “Forgiveness,” a dragging, dark, slow-building epic, the closest Girls come to directly evoking Spiritualized. “Love Like a River” follows, a piece of piano-based pop so primal that it could be, rather easily, traced back to genre innovators like Fats Domino and his “Blueberry Hill,” which this closely recalls. Closing out the album is another of Owen's “name” songs, which seem to mostly refer to the many women his frequently discussed issues have kept him from, this one being “Jamie Marie.” A fairly spare, not particularly dynamic track, it's far from bad, but perhaps would have been better served appearing in the middle of the album, rather than ending it. Still though, with Father, Son, Holy Ghost, Girls go a long way towards ensuring they will be viewed as a vital, unpredictable, and consistently exciting band, rather than a flash in the pan with a great story.

Ben's Album Picks

Fucked Up - "David Comes to Life"

For a format so commonly identified with the bloated prog-rock monsters punk was supposedly sent to destroy, there have been an astonishing number of concept albums to emerge from the punk and hardcore world, the latest of these being Fucked Up's 2011 LP (and career highlight) David Comes to Life. Ostensibly a highly meta love story set amidst labor unrest in Thatcherite England, the plot, while certainly intriguing, as well as perfectly in keeping with the Toronto collective's tendency to conflate the personal with the political, could be called at best opaque, and, at worst, increasingly nonsensical as the album continues. That said, where the narrative may seem lacking in clarity, there is no such issue with the music. This is some seriously monolithic stuff.

After a brief instrumental intro, the band comes charging out of the gates with “Queen of Hearts,” a practically perfect punk rock love song, and perhaps the finest single of the summer. From there on, Fucked Up barely lets up a minute, most of the album's seventy-eight minutes maintaining the same blistering pace, with occasional digressions into something slightly more mid-tempo. And, in theory, nearly an hour and a half of Fucked Up mastermind 10,000 Marble's crushing guitars and singer Damian Abraham's throat-shredding shouts sounds like a potential ordeal, but, as with DctL's nearest stylistic antecedent, Hüsker Dü's Zen Arcade, there's an abundance of nuance hidden behind the buzzsaw guitars. Beyond that though, the album just sounds simply goddamn thrilling, bursting with a type of vitality and righteous defiance, the type of energy that runs through all the great albums of the punk rock canon, from London Calling to Zen Arcade to Titus Andronicus's similarly lengthy, ostensibly historically inspired, conceptual 2010 work The Monitor.

There are as many as seventy guitar tracks on some of the album's tracks, and where in many situations such an excess of instrumentation could fall prey to the same issues that felled so many of the prog-rock concept albums Fucked Up's very existence stands as simultaneous affront and affirmation to and come off as ponderous, bloated, or self indulgent, David instead feels muscular and almost economical. Each guitar riff serves to further a sound that is both colossal and surprisingly nimble, capable of shifting tempos on a dime or swinging from savage ferocity to surprisingly sweet and eminently hooky, almost pop-punk choruses, guest vocals from singer/songwriter Jennifer Castle and Cults' Madeline Follin serving as a sweet breathy counterpoint to Pink Eyes' roar.

Archers of Loaf - "Icky Mettle" Reissue

Though mentioned with considerably less frequency than some of their contemporaries, Archers of Loaf and their debut album Icky Mettle were a crucial part of the early nineties indie-rock explosion that yielded such groups a Pavement, Beck, Sebadoh, and fellow North Carolinians Superchunk, as well as unprecedented popularity for college rock mainstays like Guided By Voices, Sonic Youth, and Dinosaur Jr. However, Archers lacked the zeitgeist-capturing nature of some of their contemporaries, leading to a process of depreciating recognition towards their output. And it's a damn shame, considering they put out one of the finest records of nineties indie, comparable to Crooked Rain, Crooked Rain, Bee Thousand, Odelay, or any of the other sundry classics of the era.

Where many acts of the time, most notably Pavement (inescapable when discussing the period) embraced the “slacker” ethos not just in the way they carried themselves but in the very sound of their music, no one could ever mistake Archers of Loaf for not trying. Icky Mettle storms out of the gate with one of indie rock's all time classics, “Web in Front.” Loud, driving, and over all too soon, “Web in Front” boils over with a level of frustration, snark, and exuberance that few other bands falling under the “slacker” label ever aspired to. There are no shortage of such cuts on Icky Mettle, from “Wrong,” which sounds as though it's about to collapse in on itself but for the band's seemingly desperate desire to keep it together, to “Plumb Line,” source of what is perhaps the Archers' defining line “she's an indie rocker/nothing's gonna stop her.”

In that line, and in countless others on the album (“No I do not think that you could love me anyway/ Because you are inferior to me,” “You're not the one who let me down/but thank you anyway”), lead singer and songwriter Eric Bachmann evinces seething frustration, frustration with women, frustration with the music scene and the increasingly superficial, record-collecting fans that inhabited it, frustration with himself. Unlike some others who took the “slacker” mantle, there is nothing passive to be found here.

Also included with this reissue are the bands first singles, most of which also appear on the album proper, in looser, sloppier forms, as well as their breakthrough EP Archers of Loaf vs. the Greatest of All Time, a vital, strong work in itself. Liner notes from the “dean of rock critics” Robert Christgau, an early Archers fan, complete the set, a highly valuable addition to the record collection of anyone attempting to gather together all of the great albums of one of the most exciting and idiosyncratic eras of alternative music.      

Week of 7/11/11

Hugh's Album Picks

Unknown Mortal Orchestra - "S/T"

Unknown Mortal Orchestra’s self-titled album is their first release. They were first noticed for the single “Ffunny Ffrends” on their bandcamp account. Ruban Nielson, the founder of the band, is a New Zealand native and moved to Portland, Oregon with his former band, Mint Chicks. Unknown Mortal Orchestra was what he called “his escape hatch.” Ruban was later joined by Jake Portrait (bass) and Julien Ehrlich (drums), both from Portland. The album is off of Fat Possum Records.

While I didn't think I was going to like Unknown Mortal Orchestra from the get go, they grew on me as I listened to them more and more. They have a sort of quirkiness that is unique and makes them stand out in a time where it seems like being "unique" is what everyone is trying to do. Their sound is almost muffled at times, such as on "How Can You Luv Me." This song has an almost echoed drum track that contrasts with a sharp, crisp bass line. The vocals feel otherworldly in part because they've been tampered with a little bit, but that helps to simultaneously complement both the muffled drums and crisp bass line. The track that has grown on me the most since listening to the band is "Strangers Are Strange." I'm all for the weird, the dark, and good bass lines. This track combines all of these. The quiet staccato of vocals at the beginning, accompanied with the funky bass line provides for an almost dark and ominous sound which perfectly embodies the songs hook "We can be strange, like strangers are strange." Unknown Mortal Orchestra's self-titled album is a strong kick out of the gate in particular because of what they do best: switching up their sound. Listeners would be hard pressed not to find at least one track they like on the album, if not many.

For my past picks head to warm-sound-aqueous-transmission.blogspot.com

Friendly Fires - "Pala"

This is an album I was incredibly excited about because of their first release and the band more than delivered. Pala is the second studio release from Friendly Fires following their self-titled 2008 UK hit (both albums off of XL Recordings). The band is from St. Albans, Hertfordshire, UK and have been together since 2006. The band tried to record in a professional studio, but couldn’t seem to focus, so they moved back to where they recorded their first album, in lead singer Ed Macfarlane’s parent’s garage. The band was handpicked by Gucci to soundtrack a worldwide campaign, covering Depeche Mode’s “Strangelove” for an advertisement created by acclaimed director Frank Miller (Sin City, The Spirit).

What's great about this album is that it keeps true to their first major release. Something about their self-titled album was fresh: it was funky, it was hip, but at the same time it wasn't really anything I had heard before. The band does an incredible job of making their music genuine. The lyrics are simple, yet profound; the beats are overpowering, yet seem almost perfectly simplistic. The opening track for Pala, "Live Those Days Tonight," is arguably their strongest track. It's a song that hits the ground running and doesn't stop to take a breath of air. It has a quick drum beat that permeates throughout the entire track and Macfarlane sings "I'll live those days, live those dreams like they are mine" with unending fervor. My second favorite song, "Chimes," epitomizes the bands versatility. Macfarlane's vocals hush down to a whisper at the beginning, but rise and fall throughout his vocal range which compliments the omnipresent chimes, bells, and synthesizers. The album as a whole gives listeners a near perfect listening experiences through its expertly crafted pacing and balance of sounds throughout.

For my past picks head to warm-sound-aqueous-transmission.blogspot.com

Week of 4/10/11

El Waxo & Indiano Cojones - "The Birmingham Urban Folk Parody"

The Birmingham Urban Folk Parody is the latest project by Pete Lomax (aka El Waxo) and Andy Wright (aka Indiano Cojones, aka The Dridge), and their rotating circle of co-collaborators from Birmingham in the UK off of Acidsoxx Musicks. Pete Lomax runs the gamut with his musical styles from experimental to techno to folksy acoustic numbers to rap, and this eclecticism is much more apparent on his first CD for Acidsoxx, El Waxo and the Imaginary Band Plays Various Hits. He occasionally plays around the Birmingham area with his acoustic outfit "Los Waxos" as ell. But when he joins up with Andy Wright the music becomes much more rap oriented, with a lofi IDM bent. Now, a lot of the time when I get a pretty low key artist it takes a bit of digging for me to get some information on them; for some artists the only information I can get is from their Myspace page. El Waxo and Indiano Cojones are another story entirely. Not only are they relatively unknown and a group from across the pond, but they make sure that no one knows anything. In order to get some solid information on them I had to e-mail their editor. All of the information above was as much as I could get. According to the editor, the group will post a website every now and again sampling a track or releasing a little bit of information about a project they're working on and within a couple of months the website will disappear; they are the definition of incognito. While this may seem strange, their label loves them for it because how they see it is that they're more into making their music than promoting it. The album consists of very simple beats and prolific rhyming that can sometimes be brash and comedic ("C**k and Balls") and at others be deeply profound and inspiring ("Astronaught"). It's almost shocking to hear a band that takes simplicity to heart as much as El Waxo and Iniano Cojones do. The rapping and beats all have a rawness to them that you don't see very much, something that can at first be very unsettling to the popular rap listener, but is immediately refreshing to a more underground/independent one. The band may not rise to international fame, but where their music is hear it will be appreciated.

For my past picks head to warm-sound-aqueous-transmission.blogspot.com

Shawn Lee's Ping Pong Orchestra - "World of Funk"

Shawn Lee’s Ping Pong Orchestra had its debut in 2001 with its first release Music and Rhythm. World of Funk is the eleventh release of the instrumental side project of Shawn Lee, all of the albums having been released off of Ubiquity Records. Lee’s music has appeared in various films such as Ocean’s Thirteen and The Break Up and has also found its way into TV shows (CSI: Miami, Lost) as well as video games (Bully). The album incorporates a slew of featuring artists such as Nanny G, Michael Leonhart, and Elliot Bergman. There's one thing that's undeniable about Shawn Lee's Ping Pong Orchestra on this album and that is that it's funky. What's nice about it though is that it doesn't stick to a single definition of "funk" ("funk" being one of those words that is wide open to interpretation, something many people would have a hard time explaining to an alien visitor). "Tablacadabra" has what I would call a traditional definition of funk: a slow plucking bass line and a variety of percussion instruments, from a drum kit to tablas. A break toward the middle of the song eliminates the bass line and the keyboard chords and replaces them with a reverberating guitar line and chiming xylophone which makes for a more dynamic and engaging sound. "Booya" is easily my favorite track on the album, featuring Grammy winning trumpet player Michael Leonhart. The track is dark and broody, and the brass section lead by Leonhart sets the stage for an epic battle between the screams of the trumpet and the low bellowing of the oboe, each vying for the listeners ear. I could go on forever describing how funky World of Funk truly is, but funk is something you have to feel, so check it out.

For my past picks head to warm-sound-aqueous-transmission.blogspot.com

Week of 4/3/11

Hugh's Album Picks

The Darlings - "Warma"

The Darlings’ “Warma” is the New York based band’s second record release coming out of Famous Class Records. Their debut album, “Yeah I Know” was released in 2009. They have a sound similar to Pavement, the Replacements, and the Thermals. Starting in 2007, the band is spearheaded by singer/guitarist Peter Rynsky and consists of four friends who, after graduating college, had nothing better to do than pick up their guitars and jam. This band goes right back to the knitty-gritty of classic party rock. The guitar riffs and drum beats are steady and simple, and the combination of female and male vocals make for a very uplifting feeling. The Darlings rose from scrutiny by playing parties and lower level shows and finally got signed, and while the "Warma - EP" may not be much, it's definitely an uplifting listen. "Don't Be So Hard On Yourself" is definitely the stand out party pleaser, but "Don't Wanna hang Out Tonight" is my favorite track on the EP with a slower, more mid-century rock feel too it and easily displays the best juxtaposition between Peter Rynsky's more harsh vocals and Maura Lynch's softer ones. Again, the "Warma - EP" from The Darlings' isn't a lot, but it's a step in the right direction and I look forward to them coming out with their next LP.

For my past picks head to warm-sound-aqueous-transmission.blogspot.com

Stateless - “Matilda”

Stateless’ “Matilda” is their second studio release after their self-titled album released in 2007, coming out of Ninja Tune Records. This English electronic alternative rock group is based out of Leeds. They combine electronic and classical sounds to make for a contemporary, yet cinematic feel. The album features Shara Worden of My Brightest Diamond (“I’m On Fire”) as well as the Balanescu Quartet (“Ballad Of NGB” and “Song For the Outsider”), and was produced by Bjork producer/programmer Damian Taylor. Their sound has been described as Jeff Buckley battling Modeselektor with a twist of Timbaland. While a week ago I may have put Gil Scott-Heron and Jamie xx on a pedestal for album of the year with seemingly little competition as of yet, Stateless proved me wrong. Something about what Stateless does just sucks me in. While people have compared them to several various artists, I can't help but to compare them to more. To me they have the daring sound of Muse's earlier days with their album "Origin of Symmetry," they take the grand orchestral sound and story telling nature of DeVotchKa, and put it in a blender with some sitar (maybe Ravi Shankar?). What is even better is that "Matilda" is one of those albums in which every song is a potential favorite. Out of all of the albums I have ever reviewed for 1190, "Matilda" may be the only one in which I had difficulty picking out my Top 6 Favorites. To put it in the words of my Music Director, Jessi: "[Stateless]! Why couldn't you have come two weeks sooner!" I'm assuming that Stateless would have been made CDotM for March.

Onto the music though, something about it just comes out right. I don't know if it's luck or skill, but Stateless manages to combine a number of sounds that are radically different yet mesh and flow flawlessly. My favorite song, "Ballad of NGB," starts out with a repetition of piano chords and with a soft hint of clapping, shortly followed by Chris James singing "I can feel her rapid waves/ Dark and glittering, sharp and shimmering/ So pure, so damn pure/ Dancing in the kitchen cooking up a snow storm/ Dancing in the kitchen cooking up a snow storm." This line of lyrics is immediately followed by a booming bass and accompanied by a string section that replaces the repetitious piano from earlier. I could go on and on describing the almost palpable melodies and tangible rhythms in this piece for ages, but the best advice I can gve you is to listen to it. My other favorite songs are "Ariel" (a song combining sitar licks with a bass heavy back beat and echoing lyrics), "I'm On Fire" (a song combining the trickling of an electric guitar with a beautiful duet between James and guest singer Shara Worden), and "Assassins" (tribal drumming and transcendental bells meet a synthesizer and energetic vocals). I couldn't rave about this album more than I already have, just give it a listen already.

For my past picks head to warm-sound-aqueous-transmission.blogspot.com

Week of 3/6/11

Hugh's Album Picks

Paris Suit Yourself - "My Main Sh*tstain"

“My Main Sh*tstain” is the debut album from Paris Suit Yourself. Paris Suit Yourself is a French-US collective rock band, the first ever rock band to be signed to Big Dada Recordings. The combine aggressive, yet funny aesthetics and are a bit like a mix between Public Enemy and mid-period Bowie which is clear by their unique sound. Lead singer Luvinsky Atche brings his French roots into the album on more than one occasion making for an interesting clash of rock instrumentals and French lyrics. The album definitely has a unique feel to it: one minute it's very fast passed and has an almost Latin feel to it ("Craig Machinsky") and the next its very minimalist with only echoing lyrics and a slow, steady, repeating bass line ("Soliloque"). What is maybe most exciting about this album is the French lyrics. While most listeners may not be able to understand what Atche is saying, the way in which he sings the lyrics convey a gradient of emotions ranging from excitation to anguish. When I was first listening to this album, I almost thought it was going to be FCC clean, but PSY does an incredible job of slipping in uncleanliness in the most surprising ways. Upon a second listen I realized that every single song has some sort of swear or vulgarity in it, which isn't to say that it's spewing them left in right, but that they're used strategically and almost secretively; you really have to listen to catch them. Overall, Paris Suit Yourself's "My Main Sh*tstain" is a very unique and interesting album. They creatively juxtapose various sounds and melodies without sounding sloppy and the album is definitely a fun listening experience.

For my past picks head to
warm-sound-aqueous-transmission.blogspot.com

Posies - "Blood/Candy"

“Blood/Candy” is The Posies’ seventh LP, coming from a band that first found its sound in 1988 with their debut album “Failure.” The band has switched between various labels, but may have found home with Rykodisc, the same record label they released “Every Kind of Light” with in 2005. Jon Auer and Ken Stringfellow (both on guitar and vocals) are the only remaining members from the original Posies, but, thanks to Matt Harris (bass) and Darius “Take One” Minwalla (Drums) taking control of the rhythm section, managed to have a revitalizing comeback in 2001. At first listen, "Blood/Candy" didn't seem much different than any other alternative rock/pop group, but as I listened to it a second time, I found myself digging it more and more. What's awesome about The Posies is that their songs fluctuate in meaning. One minute a song could pump you up and get your blood boiling, but that very same song could be very relaxing and calming in another circumstance. It's noticeable that the vocals of Auer and Stringfellow are the backbone of the group. More so than any of the instrumental melodies, the vocals convey the most most complexity and versatility throughout the entire album. I would highly recommend snagging this album if you get a chance. They started back in the late '80s, but have managed to keep their sound fresh and definitely give any contemporary alternative group a run for their money. My top picks from the album are "Plastic Paperbacks Feat. Hugh Cornwell," "Notion 99," and "Cleopatra Street."

For my past picks head to
warm-sound-aqueous-transmission.blogspot.com

Brown Recluse - "Evening Tapestry"

Evening Tapestry� is the debut LP from Brown Recluse out of Slumberland Records. The band formed in the early 2000s and self-released their first EP, Black Sunday,� in 2007. Their second EP, The Soft Skin,� was released in 2009, shortly after they released a cassette-only release on Dead Format called Selected Hymns (Of the Evening Tapestry).� They combine narrative lyrics with a psychadelia-tinged indie pop creating lighthearted, flowing tunes. Brown Recluse does a good job of making their music seemingly innocent on the surface. At first I thought it was really fluffy and light, and nothing at first glance really gave me the impression to believe otherwise. However, when I went through it again I noticed some of the lyrics are deep, profound, and some times disturbing. "March to Your Tomb," the closing track of the album (contrasting the opening song, "Hobble to Your Tomb"), has an upbeat, light guitar melody, but the opening lyrics are as followed: "Smeared my blood on the neighbor's fencepost/ Dragged my arm like a limp fraying paintbrush/ Trimming hedges by her briars/ They gashed my pale flesh like barbed wire," after which a twangy guitar solo follows. Brown Recluse's lyrical content is without doubt the best feature of this album and each and every song has interesting insights not only vocally, but instrumentally as well, a plethora of sounds strung out across the album. Brown Recluse has a number of interesting stories to tell and "Evening Tapestry" is a strong debut LP for the band.

For my past picks head to warm-sound-aqueous-transmission.blogspot.com

Various Artists - "We're New Here"

We're New Here� is a collaborative effort between Gil Scott-Heron and Jamie xx from The xx. What the duo did was take Scott-Heron's I'm New Here� (released in 2010) and remixed it by putting a thick, electronic, bass filled sound behind Scott-Heron's raspy, hip-hop inspiring spoken word vocals. This is without doubt the epitome of combining old and new to make something both versatile in sound, yet somehow familiar. While seemingly far apart, Scott-Heron and Jamie xx are connected through XL Recordings and owner Richard Russell who connected the two. This album blew.my.mind. It seems like an odd combination especially because Scott-Heron and Jamie xx are so different: one is black, one is white; one is young, one is old; one is British, one is American; one is a vocalist, one is a instrumentalist. However, surprisingly, when the two of them come together they create a wonderful fix of old fashioned singing and new age electronic instrumentals. If "I'm New Here" wasn't already incredible enough, Jamie xx puts a wonderfully innovative twist on the entire album. The sounds across the CD have a wide variety, each of which has it's own unique feeling. The trance like, bass flooded, standout favorite of the album, "NY Is Killing Me," alters some of Scott-Heron's vocals with strong reverberation and compliments them later in the song with a high-pitched, repetitive shrieking. Put that together with the thumping bass, synthesizing, and bells and you get a sound that engulfs you and throws you into a musical chemistry experiment gone horribly right. "My Cloud," in contrast, shifts both instrumentally and vocally. In this song, Jamie xx slows it down and has longer drawn out chords with a softer back beat that compliments Scott-Heron's decision to sing instead of use spoken word. "We're New Here" is an incredible mix of new and old and Scott-Heron puts it best in "I've Been Me" when he says, "If I hadn't been as eccentric, as obnoxious, as arrogant, as aggressive, as introspective, as selfish... I wouldn't be me, I wouldn't be who I am."

For my past picks head to warm-sound-aqueous-transmission.blogspot.com

2010

Week of 12/5/10

Hugh's Album Picks

Orange Juice - "Coals to Newcastle"

Orange Juice's "Coals to Newcastle" is comprised of songs picked out across the epic seven disc (6 CDs & 1 DVD) set, which contains the band's complete discography. The band played at the start of the '80s in Europe and presaged the coming of The Smiths and kickstarted a renaissance in Scottish pop music. The compilation is being released under Domino Recording Company (US Division) and you can find the monster CD pack on Amazon. Overall, Orange Juice is a fun band to listen to. They're very up beat, very poppy, and VERY '80s. The sampler I got only has 18 tracks, but the overall bundle consists of a DVD from a live performance and 124 individual tracks among the six CDs. Orange Juice has a really good sound and is pretty versatile when it comes to switching it up a bit. "Rip it Up" is fast and up tempo, where as "Scaremonger" is slower and more swanky. One thing every track has in it is the typical heavily synthesized '80s keyboard. I'm not a huge fan of this sort of music, but I did enjoy the album a fair amount.

For my past picks head to warm-sound-aqueous-transmission.blogspot.com

Soft Circle - "Shore Obsessed"

Soft Circle's "Shore Obsessed" has got to be one of the best album's I've listened to this semester; definitely in the Top 3, at least. Soft Circle is a New York based band started up by Hisham Bharoocha and later joined by Ben Vida. Bharoocha is known for using looped guitar riffs and repeated vocal sounds to create a trance like type of music. "Shore Obsessed" is the third album released from Soft Circle, the second album released this year (2010), and the first album released under the duo. The opening track to the album, "First Time," starts out with a repeated vocal track accompanied by a running base line which lead into some gentle guitar licks. The overall feeling is similar to what you would find with Foals, but is a bit more hypnotic. The song is light and energetic and has an overall calming feel to it. However, what was more impressive for me from the album was how quickly the band can shift gears. "Nerve of People" has a much darker, industrial feel to it. The beat is heavy and metallic, the chant in the background is almost demonic, and the vocals are lamentations of society. The feeling is much different from that of the opening track and almost reminds me of a NIN hybrid. "Reaper," possibly my favorite track on the album, mixes the sounds of "First Time" and "Nerve of People" into an intense, fast moving, rhythmic song. The sound is dynamic and hard hitting with the repetition on bass and keyboard. I would definitely check out Soft Circle if you're looking for something new to listen to, they know how to rock.

For my past picks head to warm-sound-aqueous-transmission.blogspot.com

Week of 11/21/2010

Hugh's Album Picks

K.C. Accidental - "Captured Anthems for an Empty Bathtub + Anthems for the Could've Ben Pills

K.C. Accidental's "Captured Anthems for an Empty Bathtub" and "Anthems for the Could've Bin Pills" are both EPs released by the band in 1997 in a two disc pack. Now, I don't know if they re-released them or what, but when I looked up the original release of the EPs, it was '97. The recordings are from Kevin Drew, founder, vocalist, and guitarist for Broken Social Scene. However, before Broken Social Scene there was K.C. Accidental. Partnering up with Charles Spearin, “Anthems For The Could’ve Bin Pills� was in essence the blue print for Broken Social Scene. Both EPs are essentially entirely instrumentals, but each one has a different feel to it. "Captured Anthems for an Empty Bathtub" is a bit lighter and "Anthems for the Could've Bin Pills" feels a bit more developed and industrial. I would have to say that I enjoyed the former more than the latter, but each were interesting to listen to. Being EPs as well, each is only six songs long, so if you want to just check something new out, there isn't a whole lot of commitment.

For my past picks head to warm-sound-aqueous-transmission.blogspot.com

Brian Eno - "Small Craft on a Milk Sea"

Brian Eno's "Small Craft on a Milk Sea" is his first album with Warp and the artist/producer/visionary teamed up with Jon Hopkins (Domino Records) and Leo Abrahams to create the album. Eno has been releasing music since 1974 with his debut solo album "Here Come the Warm Jets" as well as releasing collaborative albums with artists such as Robert Fripp and David Byrne. The feeling of the album, on a grand scale, is pretty impressive. A number of the songs are ambient and wrought with tense melodies and sounds. Other songs definitely consist of almost nothingness and aren't incredibly entertaining. However, some of the more energetic songs such as "Flint March" and "Dust Shuffle" are incredibly dynamic and really get your pulse racing. This album requires a bit more of a time commitment, but I don't think you'll be disappointed when you pick it up. (Fun fact: Brian Eno's full name is Brian Peter George St. John le Baptiste de la Salle Eno.)

For my past picks head to warm-sound-aqueous-transmission.blogspot.com

Week of 11/7/2010

Hugh's Album Picks

Casxio - "Friends vs. Lovers"

It's time to bring you that artist you're not listening to! For a while, I haven't really been able to pick up something brand new and immediately start grooving to it. And I'm not talking just plain grooving, we're talking funky grooving here. Casxio's "Friends vs. Lovers" really surprised me. Not only is it funky, but it's soulful, passionate, endearing, and down right sexy! I mean, their front man, Lucas Guerin, is from France, how could this album NOT be sexy? Guerin holds down lead vocals and bass and is accompanied by Saez (guitar), Choe (keyboard), and Schrock (drums) all of whom are from our side of the Atlantic. "Friends vs. Lovers" is the first album released by the band and is also self-released. Not only are they sexy, but they're hard working.

What really gets me going on about this album is that, while some of the songs may sound very similar, each and every song has its own sort of emotion. The entire album can be summed up with a broad definition of "love," whether it be sex, heart ache, infatuation, or friendship. However, there's deeper meaning to several of the songs, such as "Counting Squares" and "No Chance," which really tosses a wrench in the gears of the album, switching it up for listeners. Some of the songs are a bit more straight forward, such as "I Just Wanna Have Sex With You," which is by far my favorite track, in particular because of how blunt and sexy it is. The most impressive song on the album has to be "Counting Squares" which, while still following the general layout of the entire album, really manages to stand out because of its more rock oriented feel and the desperation in Guerin's voice as he shouts "This is my hand upon your waist! Oh, you still can't look me in the face!" "Friends vs. Lovers" is definitely a great success for Casxio, especially considering that it's their self-released debut album. While at first it may seem as though many of the songs sound incredibly similar and meld together, each song has its own flavor. The songs do have a recurring theme, but rather than creating monotony, they create an epic story of funk, anguish, love, and sex.

For my past picks, head to warm-sound-aqueous-transmission.blogspot.com

D-Sisive - "Vaudeville"

I have to tell you, I stumbled on a big ol' chunk of gold with this album. As always, I'm really hesitant about new hip-hop. Bad hip-hop is very bad, so I try not to branch out too much with hip-hop unless I have a recommendation or a review or something of the sort. Well, D-Sisive had none of that: he's an independent hip-hop artists, has no reviews for his album whatsoever, and hasn't been on the scene very long. I have to say though, I could not have been happier with picking up D-Sisive. He is easily, without question, one of the best new rappers I have come across since Lupe Fiasco. His style is incredibly interesting, mixing a flow like that of Slug from Atmosphere, but at the same time he has a sort of quirkiness like Travis McCoy from Gym Class Heroes. In addition to that, D-Sisive manages to have a sort of uncertainty behind his music; several of his songs have an eerie undertone which really sets him apart.

"Vaudeville" is the newest album in a surge of creativity from the Canadian artist. After his mother died, D-Sisive had a bout with depression and didn't make anything for six years. Surprisingly enough, after listening to The Beach Boys' "Wouldn't It Be Nice," he was inspired. Since then, he's signed with URBNET Records and has released one EP and three LPs. Suffice to say, he's had an explosion of creative juices. While D-Sisive's sound may not cater to the pop culture hip-hop listener, he will definitely appeal to any hip-hop listeners who sway in the direction of independent or underground artists. "Vaudeville" starts off incredibly light hearted with an almost fairy tale like beginning which consists of a little girl reciting a little poem. D-Sisive then continues to sing a short melody and then transitions into his rap. What makes "Vaudeville" so eerie is that it doesn't stray toward hard or soft rap in any particular way. What he does a good job of is maintaining a steady tightrope act between comforting, heart-felt songs and raw, aggressive, almost angry songs. At the same time, D-Sisive could easily emerge onto a pop culture scene with some of his more upbeat songs, "Ray Charles" and "West Coast" among them. Now thinking about it further, there's no way I can really pin any sort of mood to "Vaudeville;" "Ray Charles" really gets you tappin' your toe, where as "Riot" is most definitely a fight song; "The Night My Baby Died" is an expressive, angry lamentation where as "I Love a Girl" is uplifting and love inspired. D-Sisive is a master of expressing emotion and his flow is definitely the beginnings of greatness. He carries himself with confidence and while not every song is gold, he's confident in what he brings to the tavle and his lyrics never suffer. Each and every song has great content and the entirety of the album is a joy to listen to. I know I won't be able to put him down for months and will definitely be a frequent visitor to "Vaudeville." If you were to consider any of the recommendations I've made so far, consider this one. D-Sisive is easily the best independent rapper I have ever stumbled upon and is an artist every hip-hop listener should have in their library.

For my past picks, head to warm-sound-aqueous-transmission.blogspot.com

Week of 9/19/2010

Hugh's Album Picks

Sufjan Stevens - "All Delighted People"

Now, I never really got into Sufjan Stevens, but I do have his highly acclaimed "Illinoise" (2005) album. That being said, I'm familiar with his style and the orchestral magnitude he can have at times, something that also rubbed me the right way. "ADP" is no different from the feeling I got from "Illinoise;" it may be significantly shorter in terms of its track list, but Stevens has finally given his listeners what they've wanted. Not since 2005 has Stevens released a song-based full length album. In 2006, Stevens released "The Avalanche: Outtakes and Extras from the Illinoise Album" which, as can be discerned from the title, was just a bunch of extras that weren't on "Illinoise." In 2007, he released "Songs for Christmas" which was a compilation of Christmas songs Stevens had written from 2001-2006; a new album, but not really, you know? Christmas albums don't count. In 2009, he released "The BQE" which was just recordings of his live shows, so, still, nothing new. Finally, come 2010, Stevens is releasing not only "ADP," but is also releasing "The Age of Adz" on October 12th of this year, which will be an LP.

While "ADP" isn't officially his first full length song-based album in five years, it shouldn't be over looked by listeners. Stevens focuses the album around two different compositions of the song "All Delighted People," one that is heavily orchestral and one that is a classical rock version. Each song, while exactly the same lyrically, has a vastly different feel from the other. The orchestral version has an epic grandiosity to it when the strings section backs up Stevens' vocals; the classical rock version, with the help of horns, drums, and a guitar backing up Stevens, on the other hand feels a bit more down to earth.

Outside of those two complimentary songs, the overall feeling of the album is wrought with emotion, especially in "The Owl And The Tanager," which is my personal favorite on the album. What's interesting about this song is that it's a reworked version of "Barn Owl, Night Killer," a song Stevens typically only plays at concerts. Stevens' vocals have a sort of weightlessness to them as he sings about death and hardship on top of a steady guitar line. The trickling of the piano elevates the weightlessness of Stevens' vocals and heighten the idea of despair in the song.

Overall, Sufjan Stevens really delivers with "ADP" and listeners can only expect more great stuff upon the arrival of "The Age of Adz." By finally giving his fans what they've been waiting for for over five years, Stevens clearly has a recipe for success with "ADP" already skyrocketing up to #27 on Billboard's charts and already getting relatively good reviews across various sites. While it isn't a full LP, if "The Age of Adz" is made up of the same sort of stuff that "All Delighted People EP" is, there's no reason listeners should fret. Let's just hope it's not another five years of creative crisis before his next release.

For my past picks, head to warm-sound-aqueous-transmission.blogspot.com

Major Organ and the Adding Machine - "S/T"

"Your Moonpie Eye!"
While the self-titled album by Major Organ And The Adding Machine isn't typically my cup of tea, the people who supposedly have had a hand in it are people whose music I have enjoyed and so I decided to tough it out. "MO&TAM" is undoubtedly inspired by drugs; I don't care what anyone says, there's no way hallucinogens didn't play a role in the creation of this album. The first thing the cacophony of noise brought to mind for me was The Beatles' "Revolution 9" off "The White Album." Several of the songs consist of a tumultuous whirlwind of chanting, clanging, sirens, musical instruments, and buzzing. Oh, there's some singing in there too. While I found most of it hard to listen to, (much like I find the nearly eight and a half minutes of "Revolution 9" hard to listen to), it did have its bright spots that were masterfully arranged. Maybe it was the pleasant change from chaos to peacefulness, but certain tracks sounded like some of the best compositions I had ever heard.

The stand out song for me on the album has to be "Dance On The Telephone Poles" which slows down the pace of the album and manages to create a very harmonic melody, something that is incredibly refreshing; however, being the twenty third track on the album, its appearance seems to come a little late. While contributors to the album have managed to remain anonymous for the most part, certain artists have been identified, such as Kevin Barnes of Of Montreal whose influence is without question on this track. Other prominent indie artists such as Jeff Mangum of Neutral Milk Hotel and Will Cullen Hart of Olivia Tremor Control and Circulatory System also have been identified throughout the album. Jeff Mangum's standout vocals are noticeable throughout the album on tracks such as "Moonpie Eye Sensation," "Life Form (Transmission Received)," and "Madam Truffle."

The album was originally released on June 19th, 2001, however, Major Organ And The Adding Machine have decided to make an independent, self-titled movie due to release on September 14th, 2010. "MO&TAM" is to be used as the OST for the movie with seven brand new tracks tacked onto it. The film's trailer, without question, seems to only further the hallucinogenic influence in the making of the album. Other influences can also be seen in the trailer such as several British influences ranging from Monty Python, The Beatles films, and old British satires involving a police man and a gorilla chasing one another.

As a whole, the album is... interesting. Based on what I've seen from the trailer for the movie, "Major Organ & The Adding Machine" will more than run parallel to the direction the movie will take the viewer. While some tracks may be hard to listen to, there are also glimmering tracks that all listeners can really value. However, some of them are incredibly short (such as "Swimming, Laughing, Playing" which creates a dark, calming atmosphere, yet only lasts a mere forty-nine seconds) leaving hardly any time for listeners to appreciate the well thought out composition and melody. The rapid change of atmosphere and timbre may confuse some listeners, but others may appreciate it. At some points "Major Organ" can be incredibly relaxing and of the utmost enjoyment; at other times, it can be one nasty trip.

For my past picks, head to warm-sound-aqueous-transmission.blogspot.com

Jack's Album Picks

Week of 8/29/10

Hugh's Album Picks

The Thermals - "Personal Life"

"There's nothing we can do if I don't believe you..." When I got The Thermals' album "Personal Life," I was a little skeptical. The person that gave it to me at KVCU said it was one of her favorites and the review that came with it was spotless. Now, its not that I didn't trust these sources, but I definitely didn't want to be let down. Suffice to say, I should have believed them because The Thermals definitely made me a fan with their fifth LP. Immediately from starting the album I was surprised. The album definitely has a strong sound, in part due to Death Cab For Cutie's Chris Walla who helped produce the album. The sound is more than enjoyable for casual listeners, but will also be enjoyable for audiophiles seeing as how a majority of the album was recorded live to tape, the album was mixed to tape, and the vinyl was mastered straight from the tape. Furthermore, The Thermals definitely have a more successful punk, pop, almost garage sound, something that hasn't drawn me in for a long time.

The Thermals typically tackle ideas of love in their albums here and there, but "Personal Life" in its entirety is devoted to the concept of love as can easily be seen in the track list with songs like "I'm Gonna Change Your Life" and "Your Love Is So Strong." However, what is nice about The Thermals is that, while they have sort of a grainy, fixed punk sound, they manage to twist and turn it so that each song has a different feel. My favorite song on the album, "I Don't Believe You," has a string of bouncy guitar chords strewn throughout with soft ercussion occasionally coming in strong to fill the vocal silence. While the song is simple lyrically, it is incredibly catchy and will definitely strike that foot tappin', head bangin' nerve in your spine.

Complimenting the first song, "I'm Gonna Change Your Life," is the track "You Changed My Life" at the tail end of the album. The slow steady bass line and almost apologetic vocals of Hutch Harris really show how The Thermals' sound can morph and make you feel something entirely different. Instead of head bangin', you're definitely going to want to sway back and forth to this track. The lyrics in this song are a bit more complicated than in "I Don't Believe You" and provide an interesting juxtaposition of feelings with those expressed in "I'm Gonna Change Your Life."

While the album is pretty short (only ten songs, barely an LP), and some of the tracks don't seem to carry the same weight some their stronger songs do, The Thermals manage to convey a wealth of emotion and sound within the short track list. From the uptempo guitar licks of "I Don't Believe You" to the more mild mannered, empathetic tone of "You Changed My Life," The Thermals carry the listener across the pains, warmth, struggles, and treasures of love. I would definitely recommend picking up The Thermals' "Personal Life" when it comes out on September 7th and enjoy a sound that is seldom seen in the popular music light.

For my past picks, head to warm-sound-aqueous-transmission.blogspot.com

Week of 7/11/10

Jessi's Album Picks

Week of 6/27/10

Jessi's Album Picks

The Chap - "Well Done Europe"

English quintet The Chap return with their fifth album, Well Done Europe, on Lo Records. Baroque chamber pop is the name of the game here; reminiscent of fellow classically influenced country mates, Field Music. The string instrumentation is most pronounced on the jaunty, vitriolic opener “We’ll See To Your Breakdown,” but the aesthetic remains consistent even as synthesizers replace cellos, nodding frequently to electro pioneers Kraftwerk. And just when the momentum begins to flag, the band supplements their style with refreshing injections of funk (“Few Horoscope”), riff rock (“Torpor”) and jangle pop (“Pain Fan”) to keep the record fresh and exciting at precisely the right moments.

The Futureheads - "The Chaos"

Once amongst the frontrunners of England’s mid “aughties” angular post punk revival scene, The Futureheads have faded into near obscurity in recent years following their critically maligned third album, This Is Not The World. On The Chaos, the 4 th LP from the Sunderland quartet, the group reconciles This Is Not The World’s forays into anonymous guitar pop with a glorious return to the form of their heyday. Everything that you loved about their eponymous debut- the yelping, emphatic vocal harmonies (“The Connector”), the near-math rock rhythmic curveballs (“This Is The Life”) and the unorthodox time signatures (“Dart At The Map”)- all make a grand appearance here. The lads take their flirtations with a cappella arrangements to a new precedent with the sprawling grandeur of “Jupiter.” And fans of their latest material need not fret- The Chaos neither entirely abandons pummeling riff rock (“Struck Dumb”) nor saccharine pop accessibility (“Heartbeat Song”). This is the sound of a once promising and nearly forgotten band finally fulfilling their promises.

The Drums - "The Drums"

Fact: indie music is currently embroiled in a dangerous infatuation with the beach and surf culture. But just as I was ready to condemn the trend entirely, enter: The Drums. Last summer’s “next big thing” finally delivers on the hype of their Summertime! EP. The eponymous debut long player repackages standout tracks “Let’s Go Surfing” and “Down By The Water” alongside ten fresh cuts. These four gentlemen do “beach music” so well it’s actually hard to believe they’re not from California. Drenched in reverb, faux-tremolo picking and Wilson-esque melody, The Drums’ debt to surf music transcends mere song titles. Here’s a band that pulls super-simple, stupidly perfect hooks out of thin air. In the breezy pop department, these dudes take the trophy. So bust out the beach towels, ‘cause this record just bleeds summer.

2009

Week of 03/02/09

Charles's Album Picks

Merzbow & Richard Pinhas - "Keio Line" [Cuneiform]

*Japanoise legend Masami Akita aka Merzbow and electric guitar mad-genius Richard Pinhas join forces to trepan the brittle skull of 21st century electronic music with their 2-disk tour-de-force entitled "Keio Line". The title refers to the "strange studio at the end of the metro Keio Line [in Tokyo]" where the sonic alchemy took place during the two-day session at the end of 2007. Keio Line opens with an 18 minute soundscape entitled "Tokyo Electric Guerilla" awash in filters and tastefully executed walls of sound, a technique that seems to be lost on modern day noise artists who forget the old adage of less is more. The sustained notes and filters segue into a hypnotic syncopated electric pulsation layered beneath the first semblance of the 'Merzbow sound', i.e. the sounds of sheet metal being slowly ripped to shreds in deep space, that is if space were an appropriate medium for sound propagation.

RIYL Robert Fripp, Brian Eno, Wolf Eyes

*I couldn't resist using this annoying neologism, but hey, It's better than"new-gaze", am I right?

Nels Cline - “Coward” [Cryptogramaphone, 2009]

“Coward”, the first solo album from Rolling Stone Magazine’s “Guitar God” Nels Cline, is the culmination of 3 decades of guitar virtuosity spanning Cline’s work with Wilco, to his more adventurous original compositions and free improvisations with the Nels Cline Singers. Here Cline demonstrates his proficiencies in the fields of finger picking (ala John Fahey), improvisation, and composition.

The moods exhibited on this recording run the gamut from melancholia to exuberant joie de vivre, from meditative to “rootsy” to other worldly. Where some solo albums give one the impression of eaves dropping, Nels Cline grants the listener exclusive access to the inner depths of his creativity via his guitar and various electronics. “Coward” opens with the horticultural themed drone piece entitled “Epiphyllum”. The mysterious soundscape piece then segues beautifully into the arpeggiated acoustic guitar piece “Prayer Wheel”, perhaps named with respect to its repetitious qualities, as in the Tibetan Buddhist practice of spinning prayer wheels adorned with Tantric mantras. “Prayer Wheel” as is the rest of “Coward” is crafted to perfection with profound devotional undertones.

Cowardice has no place in this recording.

Matthew Shipp Trio - “Harmonic Disorder” [Thirsty Ear, 2009]

Harmonic Disorder is the latest release from pianist/composer Matthew Shipp on the Thirsty Ear recording label’s Blue Series, a subsidiary dedicated to adventurous and creative modern music. Matthew Shipp’s music is highly idiosyncratic and simultaneously derivative of the forbearers of modern Be-Bop and out-jazz piano. Throughout his career Mr. Shipp has forged a totally unique improvisational syntax as the modern extension in the continuum of history’s most influential jazz pianists such as Bud Powell, Thelonious Monk, Paul Bley, and Cecil Taylor. Certain elements from the aforesaid appear in Matthew Shipp’s playing, such as dense tonal clusters, use tri-tones, substitutions, and twelve-tone scales. However, Mr. Shipp’s skills in composition and improvisation are uniquely his own and do not in the least rely on the mere ‘mimicry’ of past players. Joining Mr. Shipp for this session is bassist Joe Morris, and drummer Whit Dickey, completing the same lineup from the acclaimed 2005 recording Piano Vortex.

The album opens with an original composition entitled “gng”, with a head whose intervals sound as if they could belong to a Thelonious Monk composition/solo, but retain such an exclusive execution on behalf of Mr. Shipp that they sound wholly original and modern. The band plays a solid swing from beginning to end maintaining a high degree of intensity and momentum while the next four minutes are opened up for an inspiring piano solo complete with tastefully executed comps, and minimal tension enhancing drum fills, and a walking base line that appears to intuitively “interact” with the piano solo instead of merely following chord progressions. The trio then seamlessly returns to the head of the song thus creating a refreshing compositional symmetry.

Following “gng’ is the trio’s interpretation of the standard “There Will Never Be Another You”, deconstructed almost beyond recognition but still retaining some semblance of the original melody and played with an intense swing pulse. The group’s rendition of “Someday My Prince will Come,” a standard that has been played by a multitude of jazz pianists including Dave Brubeck, Bill Evans, Art Lande, and Oscar Peterson, is both hauntingly beautiful and inspiring. Harmonic Disorder is the most enjoyable recording I’ve had the privilege of hearing in the last year (that is the last 365 days, not the three-week-old 2009). In its entirety the record contains everything from straight-ahead 2 & 4 swing, lush ballades, beautiful minor chord dirges, and the most expressive use of twelve notes I’ve experienced since Cecil Taylor.

Week of 02/01/09

Flipper - "Gone Fishin" [Water]

So glad that I got to put Flipper in rotation!! This CD has been reissued (as well as three of their others) by the lovely little label Water in San Francisco. They even recreated the record cover for "Gone Fishin'" which was originally available for sale on its own so that people could make their own Flipper tour van. Flipper were a great post-punk band around in San Francisco during the 80s. They were a lot heavier and slower than other punk bands around at the time. "Gone Fishin'" was their second studio CD which originally came out in 1984. I've heard that it wasn't well received at the time because it sounded a lot cleaner than their first album, but it's really a great bit of arty punk music. It also includes my favorite Flipper song "Sacrifice" - a harsh denouncement of war with some throbbing bass.

Stephen Steinbrink - "Ugly Unknowns" [Gilgongo]

I got this CD from Stephen himself when he played at Rhinoceropolis a few weeks ago since the bands were trying to get rid of unsold merch on the last night of tour. I was a little surprised to learn that he was only 20 when I was looking him up in the internetz. The songs on here are all so pensive and developed that he comes across as being very mature. These are really simple songs that highlight his angel-like voice. Seriously, it is SO pretty. He's from Tuscon and has collaborated with Brittany Gould from local project Married in Berdichev. He also goes by the name French Quarter and seems to come to Colorado at least a few times a year, so be sure to see him next time!

Wheels on Fire - "Get Famous!" [Fat Possum]

Garage rock! Who doesn't like garage rock? These guys lay it on thick with cowbell and organ. They are out of Ohio and are big in Europe. Jump on the bandwagon!

2008

Week of 10/27/08

Charles's Album Picks

Washington Phillips - "What Are They Doing in Heaven Today?" [Mississippi]

Ed mentioned the mighty Mississippi Records label in an earlier review and if you haven't checked them out yet - get on it! They've been releasing lots of really interesting ethnic/historic albums that are all pretty cheap too.

I recently picked up their collection of songs from gospel singer Washington Phillips entitled "What Are They Doing in Heaven Today?". I was happy to find it since it was put out in a limited pressing of 500. These tracks come from 1927-1929 and include all but 4 of the songs ever recorded by him. His brand of gospel sounds very different from anything else I've heard. He plays a homemade instrument whose original identification as a Dolceola has been contested by music historians. Now it is usually thought to be a zither. Whatever it is, the instrument sounds a lot like a music box and gives a dream-like feeling to his songs. These are warm, sweet songs that perfectly articulate the heavenly nature of the good word.

Cause Co-Motion! - "It's Time: Singles & EPs 2005-2008" [Slumberland]

I loooove pop music - twee pop, jangle pop, power pop... and Cause Co-Motion! certainly does too! You're not really going to hear anything new on this album, but they brilliantly follow after the C-86 bands that are so dear to me. Their shambly guitars, bouncy melodies and propulsive rhythms are spot on. So much fun to listen to.

The Knew - "Boom Bust" [Self-released]

These guys are a local band. Some of them used to volunteer at 1190 too! I've always liked their sound a lot. They have a driving rootsy, punky feeling with some really interesting rhythms and strong vocals. They're really tight and definitely stand out from other Denver bands. They recorded this album with Bryan from the Hot IQs at Uneven Studios. "Renaissance Man" is the jam.

Week of 10/06/08

Ed's Album Picks

Figures of Light - "Smash Hits" [Norton]

It's hard to imagine a band releasing one single in 1972 that barely saw the light of day, let a lone a record store shelf, and managing to come back some 35 years later with something interesting to offer. But, you don't need to listen to the Figures Of Light for very long to realize they're not your average early 70's rock combo. In 2005 Norton records continued in a tradition shared by the likes of Tim Warren (Crypt records and "Back From the Grave " ) and the late Greg Shaw (Bomp! records and "Pebbles"), by releasing another lost gem of seminal embryonic punk rock . Wheeler Winston Dixon (vocals/slide guitar), Michael Downey (rhythm guitar/ backing vocals), Phil Cohen (lead guitar), and Dennis Druzbik (bass) were ahead of their time to say the least, and if the New York based label's reissue of their extremely limited 1972 two- sider "It's Lame" b/w "I Jes Wanna Go To Bed" wasn't evidence enough, "Smash Hits" is the nail in the coffin. Punk, half a decade before "Punk", covered in sharp two-chord fuzz, seething with angst and frustration, and rooted in garage trash. Don't be deterred by the fact that the majority of the material on the record was recorded in 2005. After more than three decades of silence these guys don't miss a beat.

Yo Majesty - "Futuristically Speaking: Never Be Afraid" [Domino]

Yo Majesty is the most subversive and refreshing phenomenon in hip hop in many years. And since hip hop has become a wasteland of misogyny, homophobia, hypermasculinity, and uniformity, Yo Majesty's latest Domino release, Futuristically Speaking¦ Never Be Afraid couldn't have come at a better time. Jewel B and Shunda K, the two open and proud lesbian MCs who are gaining quite the reputation for performing topless, speak their mind and powerfully assert a queer message that breaks through the confines of heterocentrism. Yet, Yo Majesty is under attack for promoting the same sexual and gendered exploitation of mainstream hetero rappers. But assuming that queerness must be restrained in the limitations of political correctness is homogenous and despotic. Queerness speaks to the spectrum of diversity and I applaud that Yo Majesty aren't afraid to yell "get down on your knees and slurp it". Dusted's Ben Yaster's statement that "Futuristically Speaking isn't a thesis, and Yo Majesty is a far cry from academic provocateurs. They might provoke, but they aim primarily to entertain" is absurd and completely missing the point. Fortunately, hip hop has created a critical dialogue that exists far from the elitism of the Ivory Tower. Hip hop is about expressing real life problems and realities, a street life that is much more connected to actual cultures than a separatist university existence. In doing so, Shunda K and Jewel B etch out and call out the multiple facets of oppression in combining criticism of homophobia, white racist violence, and male constructions of beauty. When their forceful and progressive MCing proclaims, "Dis country boys eat niggers like us for dinner, while thick, black beautiful women is getting thinner", what's the point of writing a thesis? Futuristically Speaking is strongly recommended for anyone proud to bounce to jolting the nuclear family, the religious fundamentalists, frat-boys, a square P.C. doctrine, male and heterosexual dominance in hip hop and plastic surgery bods. Like the great political hip hop artists of the Golden Age (1985-1995), Public Enemy, Poor Righteous Teachers, Paris and X-Clan, with Yo Magesty true hip hop is back on the map. Futuristically Speaking... Never Be Afraid is a well-drafted title: Yo Magesty's forward thinking attitude is what is necessary in "never be afraid" to surpass all conservativists, the homophobes and the square politically correct.

Concert Review - Silver Jews Live at the Bluebird Theater in Denver

David Berman and his fellow Silver Jews performed at Denver’s Bluebird Theatre on Saturday to an almost packed house. In line with Berman’s consistently witty records, the show blended the profane and sacred with the old and the new. Though they didn’t play their early anthem “Rebel Jew”, which bluntly but poignantly reminds us that Jesus was “a rebel Jew who died for you and your sins”, I was glad to see Berman sporting a Star of David necklace. Besides kooky jokes such as, “this one’s going out to my Aunt Fatty… all of them”, most of the profane was the product of the preposterous opener, a trio of Weird Al look-a-likes from Tel Aviv Israel known as Monotonix. The lead singer dumped a trashcan on the drummers head and later dove from the balcony of the Bluebird atop a confused and mostly apathetic crowd. Monotonix may be attention grabbers, but their music, a spoof of MC5-like rock n’ roll wasn’t their main focus and as a result the substance of the group is seriously lacking.

As for the Silver Jews, old classics such as “Trains Across the Sea”, “New Orleans” and “Random Rules” where intermixed between the greater moments of their latest and sixth release, Lookout Mountain, Lookout Sea (2008 Drag City); like “Suffering Jukebox”, a parable about an unfortunate Jukebox stuck in a ‘happy town’ whose volume is “always kept way down low” because “there’s a lot of chatter boxes in this town”. The diversity of the material became a jaunt through the Silver Jews clever fifteen-year career. Yet the well-crafted song selection was merely a shadow hidden behind the dullness of the performance. For one, Berman didn’t even pick up a guitar until the last few numbers; which would have been fine if he was even half as exhilarating as Nick Cave (who played in Denver last weekend and was utterly stunning). Instead of charisma, Berman relied on his monotonous voice and awkward body movements. When he finally picked up his guitar it became clear why he waited so long: the man knows less chords than the Shaggs. Adding to the awkwardness (which I must admit where at times a bit cute) was Berman’s interacted with his wife Cassie, the bassist/backup singer of the Silver Jews. Interspersed between songs, Berman placed his hands on her hips, sneaked cheeky glances at her and softly swatted her nose. Maybe if Stephen Malkmus of Pavement was still in the group he could use his charm to steer the Silver Jews in more exciting directions then clumsy husband/wife stage flirting. But I guess we’ll just have to find out when Stephen Malkmus & the Jicks play the Gothic on November 6th.

In spite of their boring stage presence, his cunning poetry has always outshined the sometimes-bland instrumentation and overall performance. In this sense it was enjoyable to see a talented wordsmith literally come to life in the flesh. And although Berman can’t play a chord or sing a melody to save his life, his ability to transcend sonic disabilities demonstrates a vital connection of the singer/songwriters from the American Underground and the D.I.Y. attitude birthed from punk that called for a backlash against the tactless perfection and wanky technical noodling of the monotonous mainstream.

Charles's Album Picks

Chug - "Sassafras" [Alias Records]

Chug were a band from the early to the mid nineties who played dark, brooding, sludge-laden, distorted rock. This is their first full length album following their first EP entitled ‘Kisser’, from which the title track was used as incidental music in the Nickolodeon cult favorite The Adventures of Pete and Pete, a show that was so hip and offbeat that at one point Iggy Pop was cast to play the role of a single parent, Michael Stipe as a depressed ice cream man, and David Johansson of the New York Dolls as a no nonsense state trooper… but I digress.

Chug’s music is a solid tour de force of distortion, feedback, distorted bass, and melancholic male-female vocal harmonies. The songs of Sassafras can be sonically characterized as being derived from elements of late 60’s psychedelia with a gooey coating of metal guitar riffage festooned over the surface. The occasional appearance of Farfisa organ and harmonica beautifully compliment the fuzz laden Fender Mustangs…at least that’s what I would bet the guitar of choice would be for an early 90’s garage sludge rocker.

Week of 9/12/08

Ed's Album Picks

Various Artists- "Life Is A Problem... But Where There Is Life There Is Hope" [Mississippi Records]

Like Smithsonian Folkways, Document, Vanguard, and countless less prominent labels, Mississippi Records has released a collection of rare, obscure, and wholly American music. The offerings here cover everything from straightforward gospel to swaggering slide guitar, soulful R&B, and gritty electric and country blues. Unlike many various artist compilations that have a narrower focus, the variety of styles is one of the strongest elements of this release. The Willanette Singers' soulful "Pray on", stands in stark contrast to "Rock & Roll Sermon, pt 1 & pt 2" by Elder Charles Beck's, who while preaching the ills of the devil's music unconsciously delivers one hell of a rockin’ blues number. "Amazing Grace" by Oaklands Famous One Man Band is an emotive instrumental featuring only slide. The title track from Sister Ola Mae Terrel follows in a more traditional country blues style. The Crumb Brothers' "Seat in the Kingdom" has all the makings of a vintage soul/gospel classic a-la Ray Charles. "I Pound A Solid Rock" sounds like an Alan Lomax field recording, thrusted into the modern age by its distorted guitar and primitive percussion. The religious theme runs throughout, but each track comes with its own mood, atmosphere,
and stylistic elements. This vinyl-only LP was originally released in late 2007 and featured a bonus 7". The batch of 500 pressings flew off the shelves of the small, independently owned Portland record store, which doubles as a reissue label, and the records have started to bring at least twice their sticker price on the web. Currently in its third and final pressing "Life Is A Problem…" isn't easy to come by if you're browsing the local shop and just as difficult to keep in stock if you run one. It's a worthwhile addition to any gospel, soul, R&B, or blues collection. Though some titles and artist may be familiar to the seasoned collector or fan, the record can provide worthwhile stylistic insight into the roots of rock and R&B for the layman. Highly recommended. Happy hunting!

Conor's Picks

Brightblack Morning Light - "Motion to Rejoin" [Matador Records]

Brightblack Morning Light (Nathan "Nabob" Shineywater and Rachael "Rabob" or "Rabinyah" Hughes) are topnotch sloth-rockers reigning from Alabama. Unlike most modern hippie sounds (jam bands in particular), Brightblack take their subcultural leanings and branch out into territories that are inconceivable to jammy nitwits. They don’t dwell on thirty-minute guitar solos or release hundreds of repetitive live bootlegs, nor do they pamper to half-assed musical fusions, but the banner on the groups web page does read: “Anti Corporate, Anti Nuclear, Anti Coal, Recorded with 4 Solar Panels”, which my inner-hippie applauds. Brightblack’s hippie vibe is atypical; as is the case with the fantastic split cover EP with Bonnie ‘Prince’ Billy, Pebbles and Ripples (2004), in which Brightblack compel Oldham to cover The Grateful Dead and Bob Marley.Furthering their hippie leanings, Brightblack’s connection to the natural environment is a crucial influence on their sound. Residing in the “The Land of Enchantment”, their music reflects the area, as hinted at on Ali.Cali.Tuky’s (2004) beautiful opener, “New Mexico”. I’m sure the fact that Motion to Rejoin (the groups third full-length and second with Matador) was recorded in an intimate cabin in middle of nowhere New Mexico has something to do with nature’s infusion with their resonances. Their respect for the Southwest pleases me, as it’s a region that I am deeply indebted to and fond of. Thus, on Motion to Rejoin the mysteriousness of their compositions shines through like an alpine glow sunrise over a horizon of plateaus. The opening number, “Hologram Buffalo” is like Stereolab on downers. In fact most of Motion to Rejoin sounds like a lot of music on downers: gospel, blues, soul-jazz, and even bizarre country and folk. Brightblack have always displayed beautiful down-tempo rocking reminiscent of distant styles, but with Motion to Rejoin they pull it off flawlessly, sounding both beholden to their forbearers and original. Motion to Rejoin is an idyllic dusk till dawn record, especially if on the road. I thought Pram’s latest, The Moving Frontier (2008), which shares a similar title with Motion to Rejoin, was a shining example of the same tender and cool soundtrack-like aesthetic common with Brightblack. That is until I heard the near perfect execution of Motion to Rejoin. In which each track blends seamlessly with the surroundings and the atmospheric gush felt with its flow is gorgeous and soothing.“Gathered Years” is a lethargic wave of time and space. “Oppressions Each” is spread under a bed of electronics, a beat caught between dub and Mo-Town and lyrics evocative of freethinkers of the 1960’s. Some of the duos harmonizing is distorted, like on “Another Reclamation”, but it’s done in such a manner that the hum and hiss of the vocals only add to the hazy feel of the album. “A Rainbow Aims” is as if a late-60’s Miles Davis hired Otis Redding (when backed by Booker T. & the MG’s) and fed them basins of couch syrup. With chimes, lush keys and the eventual rise of horns, “Summer Hoof” is a great instrumental to flush out anxiety. “Past a Weatherbeaten Fence Post” is the most psychedelic number with wah-wah’s, pastoral production and a breezy ambiance that works well with the title. Motion to Rejoin’s closer, “When Beads Spell Power Leaf”, begins seeped in fusion-funk via Lonnie Liston Smith until reverberations bury the record behind a shadowy chasm. Regrettably, Brightblack harbor some pseudo aspects of the free-folk scene: Native American imagery and monikers as romanticized by white hipsters, a fabricated drifter lifestyle and an adoration for magical realism (which is spurious in and of itself). All of these falsehoods are evident on the albums front cover, which is strewn with feathers adorned above a boat floating in an incandescent blue abyss. Yet Brightblack’s latest work is too powerful to dwell on such mishaps. Like Neil Young, who the celestial duo don’t necessarily sound like, Brightblack elucidate an ambiguous warmth and sincere energy that shouldn’t be overlooked just because the hippie label is seen as a “Scarlet Letter” or because of their free-folk veil.

"The Guiseppi Logan Quartet" [ESP-Disk]

This hauntingly beautiful session was almost lost when the producer and the engineer, themselves being entranced by the transcendental sonic tapestry unfurling itself before them, did not to notice that the master tape was running dangerously close to its end, when it finally sounded the ominous "kathwump" and they noticed that this brilliant group interplay will be lost forever. However, The four musicians present in the studio that afternoon (Eddie Gomez b, Milford Graves drs/tabla, Don Pullen p, Giuseppi Logan ts/pakistani oboe) were able back track a few bars into the master, pick up where they left off, and continue to recreate what had originally been perceived as free form improvisation, and later splice it all together.

The result was a type of jazz that had not yet existed. a type of jazz that sounded more like the soundtrack to a nightmare, or a surrealist film. The sound of the Giuseppi Logan quartet can be described as exotic, haunting, atmospheric, and chaotic. However, knowing the groups ability to recreate the conceivably "free-form"improvisation from a previous musical juncture is proof that although sonic chaos, nightmarish textures, and surreal random dissonances ensue, there is an extremely complicated unorthodox syntax governing the improvisation existing beneath it's surface.

The five tracks committed to tape that afternoon in 1964 are a captivating and disturbing insight into the mind and psyche of Giueseppi Logan,a realm which was/is profoundly and creatively brilliant while at the same time being deeply disturbed and in the throes of debilitating mental illness and drug abuse. Within six years of this recording Logan was living in various hotels in Harlem where for the last 38 years he has been spotted wandering the streets near the Apollo theater on 125th street.

Week of 8/27/08

Katherine's Picks

"Give Me Love: Songs of the Brokenhearted - Baghdad, 1925-1929" [Honest Jon's]

It seems like you really can't go wrong with compilations from one of these labels that's dedicated to unearthing invaluable music from the past that you haven't heard of, but this one is particularly amazing. The songs for this album come from The Gramophone Company who employed 2 or 3 Europeans to record music in Iraq in the mid-1920s and produced thousands of recordings. As the title suggests, these songs are blistering with emotion. The lamenting violins are enough to make your heart ache, but on top of that the singers' voices sound strained, almost like they're crying. I can't talk enough about this album, get it because a) it's a wonderful cultural artifact that documents Iraq when it was a British-ruled territory and b) it's SO beautiful.

Patti Smith and Kevin Shields - "The Coral Sea" [Pask]

"The Coral Sea" was a volume of poetry written by Patti Smith about her dear friend Robert Mapplethorpe. He was a photographer who lived with Smith for awhile and took the picture that graces the cover of Smith's album "Horses." He died of AIDS in 1989 and Smith's poetry was written as a posthumous tribute. The title /The Coral Sea/ comes from Smith's metaphor of Mapplethorpe's journey as a sailor's voyage. On these live recordings, her passionate words are made even more intense by Kevin Shields' spacey and truly oceanic guitar parts.

Git Some - "Cosmic Rock" [Self-released]

This is a group of guys from Denver who have quite a musical pedigree between them. They come from Planes Mistaken for Stars, Nightshark, Kingdom of Magic, Sparkles, White Dynamite and Jandek's backing band for his recent Denver performance. They play balls to the wall, fast, loud hardcore/punk/metal that's topped off with Luke Fairchild's aggressive
vocals. This is a ferocious album that should make Denver proud.

Week of 6/01/08

Katherine's Album Picks

Nomo - "Ghost Rock" [Ubiquity]

Nomo combine afrobeat, funk, and spiritual jazz with electronics into a really dense, lyrical sound. It's purely instrumental music that keeps your attention with a solid groove from the trumpets and percussion. This beautiful album is really solid the whole way through.

Pas/Cal - "I Was Raised on Matthew, Mark, Luke and Laura" [Le Grand Magistery]

Pas/Cal finally have a full-length album! They have a really great, full 60's pop sound on this album that would fit right in with the Elephant Six Collective. Their music is cheery and charming and sunny and the lyrics are as cute as the keyboards and back-up vocals.

Delta Spirit - "Ode to Sunshine" [Rounder Records]

This album was released last year and is now being re-released by Rounder Records. The album got lots and lots of praise following its original release. Delta Spirit and current tour mates Dr. Dog seem to share the same love the 60s, but while Dr. Dog makes bouncy pop music, Delta Spirit seem to be more influenced by folk protest songs and rock and roll.

Jad and Nao - Half Monster [Misc. Music]

This duo is made up of Jad Fair from Half Japanese and Naofumi Ishimaru from the Japanese noise band Yximalloo. They're both musical weirdos who complement each other very well. Jad's lyrics are very direct and his voice sounds so sincere and sweet. The rhythmic, electronic sounds that Nao makes in the background lead the songs in all sorts of different directions.  Some of the songs are pretty out there but quite a few are super catchy.

16 Horsepower - "Live, March 2001" [Alternative Tentacles]

Our CD of the month for June! It's a live recording of the band from when they were on tour for the Secret South album. You probably know how awesome 16 Horsepower is already - they were one of Denver's most influential band. They have an incredible Jesus-infused, gothic Americana sound that sounds even mightier than usual on this live recording. I know Jello Biafra said that Slim Cessna would be the country band playing at the bar at end of the world, but I think 16 Horsepower would be in there too.

Various Artists- "Nigeria Disco Funk Special: Sound of the Underground Lagos Dancefloor 1974-1979" - [Soundway]

This is a follow-up to the Nigeria Special album that was in rotation a little bit ago. This compilation focuses on the music made in Lagos in the 70s - a forward thinking city that was known for its nightclubs and DJs. This album shows how Nigerians brought American funk and disco into their own music. This is the perfect CD for summer.

Tyler's Album Picks

The Lines - "Memory Span" [Acute Records]

The Lines were a post punk band from 1977 to 1982. This is a collection of most of their material starting with their earlier, more guitar driven work and moving into a much darker more notable post punk sound. The band sort of fizzled out after a few albums and singles. Their records have become obscure gems hidden in the depths of someone's record collection until now. This collection has also remastered the recordings, making them sound like it could have been released for the first time this year.

Blackstrap - "Steal My Horses and Run" [Tee Pee]

There are too many good bands that start their name with black, its absurd. This is the debut album from Blackstrap out of one of my favorite labels, Tee Pee. This Swedish group plays a fast, clean and tight version of shoegaze. Reminds me of earlier Ride and also their Norwegian neighbors Serena Maneesh. Steal my Horses and Run is an energetic explosion of windy vocals and spaced out guitar drenched rock 'n roll.

Boris - "Smile" [Southern Lord]

Whether chameleons or poisonous frogs, Boris is a malleable pulse. Smile the groups first full-length since 2006’s Pink continues Boris’ exploration of interchangeability. Smile starts with “Flower Sun Rain” in which a doom festering opening transitions into muddy textures. Following “Flower Sun Rain” is a mixture of sound-clips, punk, overblown guitar solos, plenty of fuzz, odd acoustic strums and cock rock. By the final two tracks, “My Neighbor Satan” and “Ka Ra Ha Te Ta Sa Ki” Boris find themselves back in the resonating spaces of dark-dripping psychedlia and drones. Once again the samurai’s of collaboration bring in guest appearances by fellow Japanese slayer Michio Kurihara and doom legend Stephen O’Malley of Sunn 0))).

Spectrum Meets Captain Memphis - "Indian Giver" [Birdman]

Spaceship commander Sonic Boom (Spacemen 3, Spectrum, & Experimental Audio Research) has traversed many foreign galaxies, but never has he landed in the alien land of Mississippi. Indian Giver is the bazaar encounter of Spectrum and legendary producer Jim Dickinson, a.k.a. Captain Memphis at Dickinson’s hidden Mississippi estate. Captain Memphis has worked with fellow Spacemen 3 offshoot J. Spaceman of Spiritualized, the Rolling Stones, Aretha Franklin, Mudhoney, the Replacements, and Big Star. Recorded in 2003, the only testimony of this strange muggy meeting is the nine tracks on Indian Giver. Spectrum lays down classic Spacemen 3 supernova-grooves that shape the flow and texture of the entire session. Captain Memphis lends his hobo-blues, Captain Beefheart/Tom Waits/Charles Bukowski rants, which fit surprisingly well with the layers built by Sonic Boom and co. Indian Giver is Spectrums most palatable work since 1992’s Soul Kiss (Slide Divine) and yet the interesting motion in combining Sonic Boom and Captain Memphis reaches the perfect level of experimentation. The pinnacle of Indian Giver is a cover of Mudhoney’s, “When Tomorrow Hits,” in which a tsunami of fuzz soars into melting universes.

Pat's Album Picks

Week of 4/6/08

Conor's Album Picks

Witch - "Paralyzed" [Tee-Pee]

On their second outing Witch continues the onslaught of 80’s boner-metal. Though it is exciting to hear a reversion back to a style that has become one of the many embarrassing wings of rock history, the buzz seems to largely revolve around J. Mascis (guitarist/songwriter of Dinosaur Jr.) as Witch’s drummer. Paralyzed, though not as strong as their 2006 self-titled-debut, still manages to pack a vicious punch of stoner-Sabbath riffs, cheese-ball hair metal vocals and all the burnout tendency’s of a wasted generation, in fact, Paralyzed even surfaces elements of grunge (yikes). I know J. Mascis isn’t in Motorhead or Kyuss, but they too have riffs and hooks to kill!

The Microphones - "The Glow Pt. 2 (Expanded 2CD Reissue)" [K Records]

The Glow, Pt. 2, originally released in 2001, has become one of the most rousing singer-songwriter albums of the “aughts”—not only due to Phil Elvrum’s adorable and descriptive songwriting, but also due to the lo-fi aesthetics that swirl around each and every corner. Before The Glow Pt. 2, the Microphones seemed to contradict themselves, conflicting between coarse-experimental noise and gorgeously melodic songwriting, yet The Glow brilliantly embodies the tensions of previous efforts, intertwining the pieces to form a highly intriguing masterwork. The expanded reissue elucidates that the amount of stunning material Elvrum had to construct The Glow was far greater than assumed. Unlike most expanding afterthoughts, the 2008 release of The Glow Pt. 2 brings unreleased, rough sketches, and alternate versions of songs into gleaming focus.

Bardo Pond - "Batholith" [Three Lobed]

Batholith throws into question why Bardo Pond has never been lumped into the stoner/drone/doom category. Nonetheless, Bardo Pond’s dark-cosmic resonances blare from a foreign solar system far from the margins of labeling. Batholith is a collection of songs from Philadelphia’s premier shadowy-space-rock outfit. Distantly removed from an album of outtakes, Batholith reflects Bardo Pond’s favorite songs from the past fifteen years. With only six tracks, half of which are instrumental, the group doesn’t over-do-it, and the result is an entire album swollen with inventiveness, a piece falling into place like a thoroughly designed concept album rather than a seemingly random collection of unreleased material.

Destroyer - "Trouble in Dream" [Merge]

After fifteen years since Kim Deal departed from the Pixies to carve out her own terrain, it is now clear (and probably was all along) that her leave from the quintessential underground group of the late-80’s and early-90’s was a brilliant plan of action. Much more stimulating and adventurous then most of Frank Blacks post-Pixies material--the Breeders have been able to clench an undeniably recognizable sound. Mountain Battles (2008) was developed over a five-year period. Recorded by Steve Albini (Big Black, Rapeman, & Shellac), Mountain Battles marks a shift towards experimentation while still upholding the Breeders classic sound.

Man Man - Rabbit Habits [Anti]

Killing it again, these 5 dude from philly make a New Orleans brass/Tom Waits mashup that is more original than almost anything in the past 5 years. Seeing them live is probably one of the most spiritual...okay wait, I'm not a hippie, seeing them live is probably one of the most insane and hectic shows I've ever witnessed, and they wear matching outfits, how cute. Really, these guys are making amazing music, and if you haven't found out about them yet, get into it, quick.

Nick Cave & the Bad Seeds - "Dig Lazarus Dig!!!" [Anti]

So, I know, two Anti bands on here for the week, but really...they're blasting off. The label just put out 3 great albums (don't forget Devotchka!) in the past month! Anyways, back to Nick Cave. This guy fell off quite a bit I feel, and has come back for revenge on all of us non-believers. Grinderman and this new one, are absolutely killing it. It's not even comparable to most rock albums this year, or last year for that matter. Just do yourself a favor and buy this album.

Week of 3/23/08

Pat's Album Picks

Slim Cessna's Auto Club - "Cipher" [Alternative Tentacles]

So I've been watching Slim perform these songs for almost a year now, and thank god they finally released them. This is probably the best sounding Slim Cessna's album ever. Not just in song quality (which is great) but also in audio quality. I felt like I would never hear a crisp, clean, SCAC record in my life, and so I am pleasantly surprised to come back from Austin, come back from seeing these guys in the tiniest bar ever, and to hear these songs laid down perfectly. Not to belittle the live album though, because it's still my favorite.

Roger Green - "Clear Running Water" [Self released]

Another album that I've heard a ton of the songs off of, before they were put to record, and have been waiting to come out for a long time. Maybe it's just the emotional connection I have with the cover, but the Joni Mitchell song that Roger does is just phenomenal. The fact he covers Joni Mitchell and Albert Ayler on the same recording should also speak loads to those well versed in this independent music culture. And hell, the artwork looks like a John Denver or Neil Young cover from the 70s.

Various Artists - "Love and Circuits" [Cardboard Records]

This is a compilation album that has one of my favorite songs from the past year, that was previously only available on 7inch vinyl, in the midst of 2 CDs worth of incredible material. The tagline for this record is "From Aa to Zs." which helps to understand how much music is PACKED into these 2 discs. I don't know what to say, other than Cardboard Records is on top of their game, and this compilation might be the best collection of all across the board indie music in a long long time. Get it, find new bands, listen to great tracks from the ones you know, and send Cardboard Records a little thank you note.

Week of 3/16/08

Conor's Album Picks

Earth - "The Bees Made Honey in the Lion's Skull" [Southern Lord]

The ‘svengali’s’ of reverberating drones and darkness have traveled many universes since the doom centered minimalism of Earth 2 (1993). Continuing in the path of the country-sloth metal laid forth by Hex: Or Printing in the Infernal Method (2005) and Hibernaculum (2007), The Bees Made Honey in the Lion’s Skull echoes with the atmospheric depth of lost oceanic caves. With the guidance of producer Bill Frisell, The Bees Made Honey in the Lion’s Skull is a super-nova in slow motion. Earth illuminates in the dimmest of luminosity that darkness knows no boundaries.

Various Artists - "Nigeria Special: Modern Highlife, Afro-Sounds, & Nigerian Blues 1970-1976" [Sound Way]

This beautifully presented compilation, Nigerian Special is honestly titled in that the collection spans modern highlife, Afro-Sounds and blues from Nigeria dating from 1970-1976. The Biafran war ended at the dawn of the 70’s causing innovative sounds to echo throughout Africa’s most populous nation. Nigeria Special showcases two-disc’s of this enthralling period, however the collection is only a sliver of the periods music. Hopefully following in the vein of Nigeria Special, the countless Nigerian records from the 1970’s unheard of in the West will finally be released and comped, so the rest of the world can experience the exhilaration of this incredible music.

Pete Rock - "NY's Finest" [Nature Sounds]

Legendary MC, producer and DJ Pete Rock—of the mid-90’s duo with C.L. Smooth (who together released 1994’s golden-age classic Meccca and the Soul Survivor), returns for 2008’s NY’s Finest. Rock’s devotion to the hip hop community is obvious as he always features other talented MC’s and producers on his records. NY’s Finest continues his communal lineation, featuring guest appearances by Redman, Little Brother, The Lords of the Underground, Wu Tang personnel Raekwon and Masta Killa, and a slew of other hip hoppers. Unfortunately chauvinist and heterosexist lyrics are prevalent on NY’s Finest; nonetheless, at least a witty picture of street life is presented with lyrical motifs of anti-white status quo!

Destroyer - "Trouble in Dream" [Merge]

The enigmatic, witty, and ambiguous Dan Bejar is one of the most interesting singer/songwriters of the past two decades. Like most great songwriters, Bejar’s magnificence lies in his ability to craft songs with complex and multiple interpretations. Trouble in Dreams is Destroyer’s eighth album—continuing Bejar’s lineation of Bowie-esque instrumentation and cryptic intellect. On Trouble in Dreams, the excitement that has always paralleled Destroyer’s releases persists; that Dan Bejar some how finds a way to keep evolving as a wordsmith.

Week of 3/2/08

Pat's Album Picks

Why? - "Alopecia" [Anticon]

ON THE NEXT LEVEL. This is the newest Why? album and like the last one, it is genius. Songs that make you FEEL something, and songs that make you THINK about the lyrics. Poetic, pristine, and perfect. If we didn't already have a CD of the Month, this would be it.

The Gutter Twins - "Saturnalia" [Sub Pop]

Greg Dulli and Mark Lanegan team up for an impressive venture into the depths of our classic indie rock roots. In between Screaming Trees and Afghan Whigs, this duo actually harmonize, write fantastic songs, and make you want to pick up all their old records and listen to them again.

Jaymay - "Autumn Fallin'" [Blue Note]

listened to the first 4 tracks of this record and couldn't stop bawling. Maybe it's just my mental state, but really, this is some heartbreaking stuff. Katherine ended up reviewing it because I couldn't make it past track 4, and she did a great job. This female singer/songwriter is doing all the things Fiest did, only making it more touching and personal.

Week of 2/24/08

Katherine's Picks

Jeffrey Lewis - "12 Crass Songs" [Rough Trade]

Jeffrey Lewis is from NYC’s Lower East Side and is best known for his witty acoustic anti-folk songs and comic books. His new album is all covers of Crass, whose ‘blunt wit and angry idealism’ left a strong impression on him when he first heard them as a college freshman. These anarchist punks were the most radical of the first wave of British punk bands, but Lewis makes their songs sweet and pretty. The message of Crass's lyrics still come through clearly though. This is his 4th album and it’s on Rough Trade.

Bad Luck City - "Adelaide" [Self-released]

This is one of a whole bunch of sweet local CDs coming out right now. Bad Luck City are a band of six from Denver, with all the usual instrumentation plus a violin. This is an album of slow, dark country songs about murder, drinking and misery that are all incredible.

Alastair Galbraith - "Orb" [Next Best Way]

The fascinating singer/songwriter and experimenter Alastair Galbraith has been crafting incredibly interesting material since the mid-80’s. Based in Dunedin, New Zealand and now running his own label (Next Best Way), Galbraith is now free to take his beautifully sophisticated pieces in whatever direction he feels fit. Orb is Galbraith’s first album since 2000’s Cry and 1998’s Mirrorwork that has somewhat of a singer/songwriter resemblance. In line with his classic material from the end of the 90’s, Orb features lovely loops, Galbraith’s mellow-tinged voice and plenty of lo-fi guitar strumming. Along with many of Galbraith’s albums, Orb illuminates a musical visionary who is not afraid to expand the boundaries of the singer/songwriter format.

Stephen Malkmus and the Jicks - "Real Emotional Trash" [Matador]

Combining the over-the-top wailing of Television with the classic Pavement sound, Real Emotional Trash is Stephen Malkmus’ greatest post-Pavement creation thus far. With songs ascending upward to ten minutes, the album has a definite 70’s rock vibe; the long-winded guitar solos may also render such an interpretation. Sleater-Kinney’s Janet Weiss joins the Jicks on Real Emotional Trash and her drumming meshes well with Malkmus’ soaring guitar work. Real Emotional Trash illuminates that after more then fifteen years Malkmus has not abolished his dark-wit or ability to craft perfect pop songs.

Pram - "The Moving Frontier" [Domino]

With only five vocal tracks, the Birmingham oddball avant-pop outfit—Pram returns with The Moving Frontier, one of the groups most interesting and finest records in their fifteen-year existence. The nostalgic movie-like instrumentals work wonderfully with time and space, while also making the few songs with vocalist Rosie Cuckston that much more special. With thumb pianos, electronics, strings, plenty of brass and innumerable amounts of other instrumentation, The Moving Frontier creates a lush and consuming atmosphere. Rosie Cuckston’s vocal numbers are The Moving Frontier’s peaks, yet the instrumentals put the entire composition into perspective, only helping to stimulate reflection.

The Dirtbombs - "We Have You Surrounded" [In the Red]

Detroit rockers the Dirtbombs return with an Armageddon infused explosion. We Have You Surrounded features classic Dirtbombs rockin’ with a slight budge towards post-punk, while Mick Collins (vocalist/guitarist) spews out darkly-witty lyrics of inflamed landscapes, urban paranoia, the Judgment Day, and a slew of other post-apocalyptic humor! We Have You Surrounded was initially supposed to be an EP, which would have made for a stronger release. Nonetheless, though there are a few drop-offs; We Have You Surrounded features quite a few ornaments. When the Armageddon comes and “there is no place to go” hold onto the Dirtbombs “in the dying light”!

Ed's Album Pick

Sonic Chicken 4 - "S/T" [In the Red]

These guys have a great knack for going from a heavy, fuzzed out crunch, to a sort of sped up, twangy, jangle pop. I'm guessing the right way to take it is the same way you might have taken the tongue-in-cheek hippy discourse the Black Lips offered on "Dirty Hands" or in the title of their "We Didn't Know The Forest Spirit Made The Flowers Grow" record. The slightly off harmonies and thick French accents definitely add to that effect. Though, I'm assuming the accents are genuine since the group is from Perpignan, France.

If the marching thump, jangling rhythm and 3(?) note lead of "Girl66" doesn't make you wanna shake, shimmy, and hop around your living room with a bottle of wine then you should check your goddamn pulse! (If your pulse is there then I'm just a bigger loser than I thought.)

The "garage-punk" label is appealing, but there seems to be a lot of different things going on here. In The Red records, who continue to put out some of the best rock 'n' roll records around today (Dirtbombs, Reigning Sound…), suggest the record "For fans of VU, Back From The Grave, girl groups and Jaques DuTronc". It's a suggestion not a guarantee… and if you find the idea of throwing the above mentioned titles/artists in a metaphorical blender and having a folky, harmonizing garage-punk and pop smoothie appetizing, then I'd say they're right.

Week of 2/17/08

Pat's Album Picks

The Swayback - "Long Gone Lads" [Self-released]

This is the long awaited full length from these Denver boys. The trio draws out thier arty rock'n'roll once again and includes a few songs that have been staples of what we play from them (thanks for the radio advances!). Concrete Blocks, Forewarned, and my favorite cover of the classic Velvets song, Waiting For My Man. Thank god they have finally put these down with a slew of other great songs so they don't just stick out like sore thumb singles.

No Kids - "Come Into My House" [Tomlab]

Coming out of the cute indie pop band p:ano, this is 3 of the 4 members making even BETTER pop music. Bascially it's a good mix of indie pop with a helping of soul to it. If you've been up on the Radio1190 rotation, it'd be a mix between Hey Willpower and Architechture in Helsinki. The first song is a star, and the most slow, sad, beautiful, heartbreaking song on the album. It picks up after that so give it more than one song consideration.

Various Artists - "BIPPP French Synth Wave 1979 - 1985" [Everloving]

I reviewed this back in the summer, when it was an import and so you can scroll down and find the actual commentary on the record. Just know it's the French equivalent of the italo disco sound that has been growing and growing in the last 5 years. I just wanted to remind everyone that this record is incredible, and is now available on Everloving records so it won't cost you an arm and a leg to import it.

Week of 2/3/08

Pat's Album Picks

Bonaparte - "Too Much"

Somewhere between garage rock and electro, Bonaparte decided to make music. It's hard to pigeonhole, and sometimes that works against them as it feels all over the place, but the 6 or 7 songs that come together good, are really really good. From Berlin, and really nice people, Bonaparte have a circus quality to them that makes the live shows something different. As stated on the website, they have three types of live shows...CIRCUS SHOW = band + dancers + animals + fire + confusion, BAND SHOW = a band standing around holding instruments, SOLO SHOW = mr. bonaparte with mrs. computer, guitar & mask. Anyways, I've never seen them, but the CD is quality, and that's what matters.

Vanishing Kids - "Skies In Your Eyes" [Bright As Night]

From Portland, these guys haven't put out a CD in a while, but it was well worth the wait. These psych/shoegazers are mixing the best elements of your favorite drug laced bands of the last 20 years. Get on it while they're still hip, because if you don't you'll be like me, sad that you missed the boat on Spaceman 3.

The Big Sleep - "Sleep Forever" [French Kiss]

Metal from French Kiss asskickers. Stepping out of the normal French Kiss mold for bands, The Big Sleep wails on the instrumental tracks, and while the vocals seem to take away from it, the album is still solid from first to last. Start the headbanging, these guys rule and this album is a step up from the last.

Brian Harnetty - "American Winter" [Atavistic]

Appalachian history and culture is represented on these recordings that the Berea College sound archives have kept for years. These field recordings, radio programs, and interviews all are pieced together to form a strange, but completely engrossing composition that has historical importance permeating every note.

Conor's Album Picks

Various Artists - "Wayfaring Strangers: Guitar Soli" [Numero Group]

Adhering American roots music with nontraditional experimentation is what pioneering finger-picker John Fahey coined the “American Primitive”. In the same vein as the inventive genius Fahey, Wayfaring Strangers (another exceptional compilation from Chicago’s Numero Group), features fourteen of the lesser-known names aliened in the tradition of the Takoma Records school of solo guitarists. The collection of material spans from 1968-1980. Wayfaring Strangers is a precious release in that it brings to life fourteen lost, forgotten and obscure recordings from some of the finest acoustic guitar innovators in American history.

Boscoe - "S/T" [Numero Group]

Hailing from Chicago’s South Side and birthed from the same early-70’s scene as the Art Ensemble of Chicago, the Sun Ra Arkestra, and Phil Cohran’s Artistic Heritage Ensemble—Boscoe, though pushing the envelope of “Great Black Music” has unfortunately been buried in obscurity. On their solitary recording/self-titled debut, Boscoe abolishes the boundaries of jazz, soul, and funk and lays down grooves so imaginative and immaculate that the reverberations “depict every facet of life” (Steve Cobb)—resurrecting Malcolm X, the corrupt nature of capitalism, the strength of love and the perseverance of black survival. The horn section is inconceivably astonishing, morphing motifs in and out of the pieces structure and ultimately dominating the scope of the sound.

Human Bell - "S/T" [Thrill Jockey]

Human Bell is the instrumental collaboration of Baltimore natives Nathan Bell (Lungfish, Arbouretum) and the leader of Arbouretum Dave Heumann, who has also worked with Bonnie ‘Prince’ Billy and Papa M. The name of the duo is an amalgamation of the two guitarists last names—quite innovative I know. Human Bell’s self-titled debut was recorded by Paul Oldham (brother of Will Oldham) and mixed by the mastermind behind Tortoise, John McEntire. The duo grippingly melds atonal droning with melodic interplay, simplicity with intricacy and a thorough expression of time and space in a charted but interesting voyage through a diversity of terrains from; psych to folk to drone metal, and from minimalism to Eastern-modal structures.

Steve Reid Ensemble - "Daxaar" [Domino]

Steve Reid is a renowned jazz drummer from the Bronx who has played with James Brown, Sun Ra, John Coltrane, Marvin Gaye, Fela Kuti and countless other legends. He may be the most exciting member in the contemporary jazz community, new or old. Reid has a beautiful sense of finding fresh talent and melding his signature percussive elements with young and exciting blood. Over the past few years Reid has been dragging electronic guru Kieran Hebden (Four Tet) into the depths of out-jazz and on Daxaar, Hebden continues to tweak knobs. Daxaar was recorded in Africa and features an all-African cast, except Reid and Hebden. On bass is Dembel Diop, percussionist Khadim Badji, trumpeter Roger Ongolo, guitarist Jimi Mbaye, on keyboards is Boris Netsvetaev and on Korah is Isa Kouyate. Daxaar is fascinating, fantastic and diverse.

The Jon Spencer Blues Explosion - "Jukebox Explosion Rockin’ Mid-90’s Punkers" [In The Red]

Along with the likes of Wild Billy Childish and Mick Collins (Gories, Dirtbombs), Jon Spencer has been one of the most vital figures of the punk/garage revival. From his legendary skuzzy punk act Pussy Galore, to the primitive slaying of Boss Hog and the Blues Explosion to his latest stint in the psycho-billy duo Heavy Trash, since the early-80’s Jon Spencer has been at the forefront of elemental rock n’ roll. Jukebox Explosion is a fatal compilation of rare 45rpm singles and unreleased gems from 1992-1995. The compilation is a raunchy blast of energy, out-of-control, and an accommodating window into the feral world of Jon Spencer.

Week of 1/20/08

Conor's Album Picks

Various Artists - "I Hate CD's: Norton Records 45 rpm Singles Collection Vol. 1" [Norton Records]

Norton Records “specializes in wild rock”! From R&B to punk, rockabilly to garage, 50’s rock n’ roll to power pop and instrumentals to harmonized ballads. I Hate CD’s is a collection of the labels popping, scratchy, and completely timeless 45’s. The collection spans from the late-50’s to today. It astonishing how much terrain I Hate CD’s covers—Link Wray, Big Star, The Ramones, Andre Williams, the Creation and so much more. The album is a download only release, and can only be obtained at Nortonrecords.com. “Who Will Save Rock and Roll?” The answer is clear: Norton Records.

Nels Cline Singers - "Draw Breath" [Cryptogramophone]

One of the few avant-garde jazz guitarists; Nels Cline (Quartet Music and Wilco) expands upon the monstrous sound of Sonny Sharrock and James Blood Ulmer. But Cline does not only stick just to jazz. His chameleon abilities allow him to morph in and out of any genre imaginable. On Draw Breath Cline is joined by bassist Devin Hoff and percussionist and electronic wizard Scott Amendola, not to mention fellow Wilco comrade Glenn Kotche on the albums finale, “Squirrel of God”. Draw Breath is creative, vigorous, enchanting and profound.

Magnetic Fields - "Distortion" [Nonesuch]

Consistent, fluid, shrewdly comical and brilliant—Stephin Merritt, the pop-architect behind the Magnetic Fields is constantly moving in new directions while balancing an unswerving sound of his own. Like Merritt’s 1999 triple-disc classic 69 Love Songs, Distortion is aptly titled: the album melds Brian Wilson-esque pop vocals with super fuzzed-out Jesus & Mary Chain riffing. From the brilliant instrumental opener, “Three Way” followed by the satiric surf gem in which Merritt bashes over-tanned “California Girls”, to the darkly hilarious chanting of “sober, life is a prison…” in “Too Drunk to Dream”, Distortion is an adventurous, wonderfully crafted, sinister yet mirthful oeuvre which makes for a peculiarly blissful experience!

Hey Willpower - "PDA" [Tomlab]

Jammin to that slow R'n'B style vocals, and thick beats, this is a collaboration between Will from Imperial Teen and Tomo from Tussle. It's party music, it's something you'll hear as background to the dance offs of the century, and it's what I thought Panther would always sound like (he doesn't by the way).

Night Wounds - "Allergic to Heat" [Corleone]

Really abrasive, and while good on the first few tracks, this records SHINES on the song Nineteen. It has a killer bassline and vocals that sound like Numbers...but not that new record from them, the older ones. If you dig that song, go check out Numbers before they settled down, they used to rock hard. There was no info on this band, which is why the review sucks and is mostly about a different band. Sorry.

Hello Blue Roses - "The Portrait is Finished and I have Failed to Capture Your Beauty" [Locust]

DAN BEJAR IS ON THIS RECORD! DESTROYER, NEW PORNOGRAPHERS! Okay, I freaked out like that when I heard that news, but it was really disappointing. The record is good, but it's not Dan Bejar. It's his wife. She wrote the songs. She sings the songs. Dan just plays backup stuff...so if you're looking for a new Destroyer record, skip this. If you are in love with Bejar as much as I am, and will geek out about him just singing backups, then check it out. And why the hell is it on Locust? That's weird.

Times New Viking - "Rip it Off" [Matador]

The Vaselines perfected this sound a long time ago, but Times New Viking is louder, more distorted, and make funny lyrics. Matador tried to make me feel like a dumbass for not knowing who this band was, but really, I don't think they were as cool as they are on this record. Highly recommended, but make sure to turn your stereo down a bit, this is recorded way hot and I almost blew everything up in my office when I put it on. Real fuzzy pop stuff.

2007

Week of 12/9/07

Conor's Picks

Burton Greene - "Bloom in the Commune" [ESP-Disc]

Burton Greene’s “Bloom in the Commune” is a fiery statement in “open-free- communications music.” With Burton Greene on piano, piano harp, and percussion, Marion Brown on alto, Henry Grimes on bass, Frank Smith on tenor, and Dave Grant and Tom Price on percussion, “Bloom in the Commune” is an utter free-jazz binge. Originally titled the “Burton Greene Quartet” and released in 1965, “Bloom in the Commune” is an ESP-Disc reissue featuring the full-album along with some damn potent interviews. Greene talks about LSD, despising capitalist America, being an ex-patriot in Holland, Coltrane, and a slew of other great topics. In discussing the legendary Slug’s Saloon show, where Burton preformed with Albert Ayler (the “Holy Ghost”), Rashied Ali, Henry Grimes, Marion Brown and Frank Smith, Burton relays that the performance was such a vociferous blowout that the piano bench was bouncing three to four feet off of the stage.

Fire on Fire - "Fire on Fire" [Young God Records]

Produced by the legendary Michael Gira (Swans & Angels of Light) on his very own Young God Records, Fire on Fire is Gira’s latest endeavor. Gira has helped birth the likes of Devendra Bandhart, Akron/Family, and Mi and L’au.

This is what Michael Gira has to say about Fire on Fire, “They used to be the art-punk prog-chaos collective Cerberus Shoal, but they ditched their electric instruments, went into hiding for a while, and now play all acoustic—stand up bass, mandolin, banjo, harmonium, accordion, acoustic guitar, dobro etc etc, and they all sing and harmonize on the songs. Live, they do it “old school” and just use two mics placed in front of them on the stage, like a bluegrass band. They all live in the same house up in Maine, across from rusting green oil tanks, apparently” (www.younggodrecords.com).

The Urges - "Psych Ward" [Off the Hip]

Debut full-length by Dublin, Ireland's manic garage/punk quintet The Urges. Recorded in the all analogue studio of Circo Perrotti in Gijon, Spain with Jorge Explosion on production duties (Billy Childish, The Cynics), Psych Ward (Off The Hip 2007) is a savage energy filled ode to the earliest days of punk. Paying homage to underground heroes of the 60's like the Seeds, Q'65, and 13th floor Elevators, and following in the footsteps of latter day madmen like, "Wild" Billy Childish, The Chesterfield Kings and The Cynics, The Urges deliver 11 cuts of pure garage trash! Jim Walters vocal delivery and lyrics are powerful, moody and venomous. Glen Lee Flynn puts down some killer fuzz and tremolo soaked guitar licks which, when paired with Gary Clarke's organ grinding, might just induce a freakin' aneurism (dig the brilliant instro-mental "Salvaje"). Fans of early Satelliters or locals The Omens will FLIP!

This record was released on both Australia's Off The Hip Records and Ireland's Stomping Ground Records. The LP version is available courtesy of Germany's Screaming Apple Records.

The Tempos - "Speaking Of... " [Norton]

The Tempos “Speaking Of...” was originally released in ’66 on North Carolina’s Justice label. Here, Norton records serves up a straight re-issue of the Alabama quintet’s full length. The record is highlighted by The Tempos moody garage/R&B originals “Two Timer”, “You’re Not Here”, “Pardon me” , “You’re Gonna Miss Me” (not the be confused with the 13th Floor Elevators tune of the same name), “I’ve Got A Girl”and “To Conquor This World.” There’s also a pair of surf tunes, a so-so cover of “Miserlou” and an aggressive fuzzed-out numner called “Heartbeat”. Definitly worth checking out if you’re a fan of the Rolling Stones early records garage and obscurities. If you already have Collectibles ’95 CD re-issue this is the perfect opportunity to add this gem to your vinyl collection.

Billie Holiday - "Rare Live Recordings 1934-1959 " [ESP Disc]

ESP disc serves up a healthy 5 disc set of rare live material by one of the world's most legendary female jazz/blues vocalists. Live recordings from New York's Metropolitan Opera House and Savoy Ballroom among others, audio from Arthur Lubin's 1947 film "New Orleans", scarcely heard material and multiple versions of classics such as "Willow Weep for Me", "Them There Eyes", "Fine An Mellow", "God Bless The Child", "Lover Man", as well as a host of warm-ups and introductions by a large cast of musicians and radio personalities, are all made available here. Though some listeners may find some of these live out-takes a bit much, from 20 second clips of the orchestra tuning, to short interviews or histories, the majority of the material offered is a real treat for Holiday fans.

Week of 11/25/07

Pat's Album Picks

His Name is Alive presents "A Tribute to Marion Brown" [High Two]

The guitarist from His Name is Alive started playing Marion Brown covers and interpretations a while back, and then decided, "Hey, let's make this into an album" so they did. This is a tribute to a very under appreciated avant alto saxophonist of the 60's and 70's. Marion first played on Ascension (remember when Milkman Dan played that at 7am for you on his last show? Yeah, that was this guy, and Coltrane) and went on to record albums on the labels that Radio 1190 holds in such high regard, Impulse!, Fontana, and ESP disk. But back to the album. It's a combination of live cuts and studio recordings, and they all shine. The first track is around 9 minutes and doesn't let your mind stray for a second. Pay attention, this will be one of those underground sleepers that in 2 year everyone will be quizzing you about.

The Woods - "How to Survive In/In the Woods" [Shrimper]

So Meneguar buddies Jeremy Earl and Christian DeRoeck decided to make this band Woods. They took a bunch of friends up into the woods, recorded a few songs, and then released it. This is the second album by them, and as I explained last night to someone that had never heard it before: "These guys are making low-fi folk music, that gets a little crazy sometimes (think Microphones crazy), but just drives all those feelings right up from your tummy into your throat." I think that gives it justice. Song 9, Broke, is a personal favorite.

Starfucker - "EP" [Self-released]

This EP and the review below it go together, as I just got them this weekend (I know I know, I'm slow, and I was even in Portland for 2 months this year!) but they are both incredible albums with the same frontman. Josh Hodges started this somewhat electronic, folk inspired project, and has one song on the PDX Pop Now! 2007 compilation as well as this hand burned EP. Now, there are only 2 songs with lyrics on them, and one is the song that appeared on the PDX Pop Now! comp. but the other one is just as good, and those two together with fun beaty instrumentals make this 7 song EP absolutely amazing. Just go listen to German Love 1 and Ronald Gregory Erickson 2 and if they don't get stuck in your head, I will give you some candy.

Sexton Blake - "Plays the Hits!" [Expunged Records]

As mentioned, this is Josh Hodges again, only with a full on rock band. Yet it's still a pretty mellow sound, and Starfucker is like Sexton Blake without guitars and a laptop instead. Just to put it in perspective. Now, this album is ridiculous. Straight up. It's a precursor to that Bonnie 'Prince' Billy cover album of ridiculous songs, and on "Plays the Hits!" we have tracks from Bruce Springsteen, Elton John, LL Cool J, and even Milli Vanilli! Imagine that with a soft rock band! Really! It's amazing. Anyways, this came out earlier this year but...it's still worth mentioning, especially in light of the Madonna cover album Into the Wilderness and Bonnie 'Prince' Billy's "Ask Forgiveness" EP being released.

Conor's Album Picks

Sun Ra & His Astro-Solar Infinity Arkestra - "Night of the Purple Moon" [Altavistic]

From a distant planet—as you can imagine it is quite difficult to locate and release an alien’s musical output; especially considering Sun Ra would not give accurate release dates for many of his Saturn label releases. However, in recent years gobs of Sun Ra’s obscuro releases have been re-released. Originally from 1970, The Night of the Purple Moon features Sun Ra leading a quartet comprised of Danny Davis on tenor, percussionist John Gilmore, bassist Stafford James and Sun Ra on rokischord, moog synthesizers, and wurlitzer piano. Though not as ‘out-there’ as many of Sun Ra’s compositions, on The Night of the Purple Moon Sun Ra still manages to be quite the impressive innovator.

Wiley - "Playtime Is Over" [Big Dada]

I’m not usually one for British hip-hop or grime; I think the beats are dope, but the rhymes are asinine. Nonetheless, Wiley, a.k.a Eski-Boy, the self-proclaimed “Godfather of Grime” is a definite exception. He is a producer/MC and unlike other grime artists his flows and beats are inventive and clever. Though Wiley has dropped plenty of underground singles, Playtime is Over is his third full-length release. The album is harder, less childish, and fresher than his previous efforts and he even attempts to squash his beef with fellow grimester Dizzee Rascal on the track “Letter 2 Dizzee”. Whether you like British MCing or not, it is always entertaining to learn the new London slang.

Various Artists - "Brit Box: Uk Indie, Shoegaze, and Brit Pop Gems of the Last Millennium" [Rhino]

After the success of the British Invasion of the 1960’s, the U.K. music scene was trapped in a realm of uninventive and hollow rubbish. However, the broken economy of the late-70’s brought a fresh breath of air with punk rock acts like the Clash, the Buzzcocks, and the Damned. After punk fizzled out, it was replaced with more shabby sounds, as the emerging radio-friendly new wave scene hit the isles. Nonetheless, after punk plenty of talented and tasteful DIY groups started springing into action.

The Brit Box: Uk Indie, Shoegaze, and Brit Pop Gems of the Last Millennium is precisely what the title suggests. Starting with the post-punk of the early-80’s and ending in the mid-90’s, though a little scattered this Rhino box set has compiled an amazing slew of the most significant British acts of the past twenty years. Featuring the Smiths, My Bloody Valentine, Sapcemen 3, New Order, the Jesus and Mary Chain, Teenage Fanclub, Ride, Lush, and numerous others!

Week of 11/11/07

Conor's Album Picks

Bonnie "Prince" Billy - "Ask Forgiveness" [Drag City]

Bonnie ‘Prince’ Billy, the greatest (that’s a fact) of all the contemporary singer/songwriters returns with oddball folk duo Meg Baird and Greg Weeks of the Espers. Ask Forgiveness is an extensive covers EP featuring renditions of songs by R. Kelly, Bjork, Phil Ochs, Danzig, the Mekons, Mickey Newbury, Frank Sinatra and an original by Sir ‘Prince’ Billy himself. The title of the EP comes from the quote, “better to ask forgiveness than permission.” Like previous efforts, by falling on a pendulum between humor and sincerity, Ask Forgiveness illuminates the stunning honesty of Bonnie ‘Prince’ Billy’s music. Moreover, being joined by the Espers and recorded by Greg Weeks is a pleasant addition to the remarkable Palace catalog.

Various Artists- "Skull Disco: Sound Punishments" [Rough Trade]

Skull Disco is London's premiere dubstep collective and label. Run by innovative dubstep producers Appleblim and Shackleton; the duo are persistently at the forefront of London's vibrant future dub and dubstep scene. Soundboy Punishments is a double-disc compilation of Skull Disco's greatest hits, if you can call underground club anthems hits. Interestingly, Soundboy Punishments is not out on Skull Disco, but rather the legendary London label and record store, Rough Trade. All tracks from the compilation have been lifted from 12" singles and include tracks from Appleblim, Shackleton, and Gatekeeper.

Einstürzende Neubauten - "Alles Wieder Offen" [Potomak]

These guys have a) Been around forever b) Been making challenging music forever c) Are German (rad right?) and d) Usually make my head hurt. This new album though, is so different than almost all the stuff I have heard before. It's not 'easy listening' but it's much more easy to listen to. The songs have a understandable structure and the instrumentation doesn't include saws and fire like on other releases...so if you've been a fan for a while, this might not be a good change, but for us who appreciated these guys for what they had done but never really liked it...this is a step out of the box and a good one.

Grizzly Bear - "Friend EP " [Warp]

Okay okay I was slow on it. I'm sorry. We love Grizzly Bear, in fact there is a signed poster hanging right behind my computer screen, that's how much we love them. I'm the one who let this pass under my nose without giving much of a look at it other than the words Grizzly Bear and EP together meant it would go into our library since an EP can't have that many songs that are playable. WRONG, Gravely wrong. My apologies for being so short sighted because this EP is probably one of the most interesting things to come out from Grizzly Bear. Including covers by CSS (really!?) and Band of Horses...who are both wonderful buzz bands right?...this EP might as well be an album and is worth every penny you would spend on it.

Various Artists - "Look Directly Into the Sun: China Pop 2007" [Bloodshot]

Martin Atkins was the drummer for Public Image Limited. He's a badass. He has a new band called China Dub Soundsystem, and he was in China for some period of time recently. There's the background, now the important stuff: Martin described the music scene in China as close to the late 70's/early 80's NYC and 70's London scenes as you could get today. Think Punk, Post-Punk, and that whole mixing of the genres that was happening in that time, only it's happening again now, and in Chinese. This is a compilation of bands from that scene and has been described as "China via Chicago."

Degenerate Art Ensemble - "Cuckoo Crow" [Tellous]

DAE is a collective of musical artists, performance artists, and regular...traditional artists that decided to mash it all together and say a big fuck you to your senses. It's incredible. Bouncing around this record sometimes gets tiresome because of how all over the place it seems, but the complete ideas make you think, challenge your normalcy, and that alone sets it above the piles of mediocre CD's that pass over my desk.

Katherine's Album Pick

Zs - "Arms" [Planaria]

Zs formed in New York City in 2000 as a byproduct of the Wet Ink Collective, a group of musicians and composers dedicated to contemporary music. The members play saxophone, guitar, keyboard and drums. They are an avant-garde group whose music relies on tight, heavily repetitive instrumental unison rather than melodies. Out of this aural onslaught comes songs that are challenging, refreshing and awfully interesting.

Week of 10/21/07

Katherine's Album Pick

Tullycraft - "Every Scene Needs a Center" [Magic Marker]

Tullycraft formed in 1994 from the remnants of Crayon and Wimp Factor 14. Since then they have played a huge part in shaping the American movement of twee pop, probably the cutest genre of music in existence. The album starts off with one of Tullycraft's best songs to date "The Punks Are Writing Love Songs", a fast, catchy pop-punk song that's up there with "Twee." The rest of the album's got many more pop-anthems that you would expect from Tullycraft. It also features back-up musicians from some of Seattle's other indie pop bands, including BOAT, Patience Please and the Math and Physics Club.

Six Organs of Admittance - "Shelter From the Ash" [Drag City]

Once again Ben Chasny unleashes a godsend with Shelter From The Ash, Six Organs of Admittance’s ninth record in their less than decade long career. Ben Chasny, also of Comets on Fire, August Born, and Bangerlore, only reaches the level of freedom and enchantment with his most powerful brainchild, Six Organs of Admittance. Shelter From the Ash is a multifaceted masterpiece. Blending majestic finger picking, with swirling noises, soaring guitars, drones, and enchanting vocalization. The album features fellow Comet’s on Fire member Noel Harmonson, Magik Markers front-woman Elisa Ambrogio, Tim Green of the Fucking Champs and Matt Sweeney of Chavez. Six Organ’s previous albums find a grove and fully explore the grove from start to finish. However, the diversity of Shelter From the Ash takes many directional changes, resulting in the sonic transformation of fractured light. When the Armageddon comes and the volcanoes begin to spew, Six Organs of Admittance may be humanity's only Shelter From the Ash.

The Abyssinians - "Satta Massagana (Deluxe Edition)" [Heart Beat Records]

Formed in the late 60’s in Kingston, Jamaica; The Abyssisans harmonies are equivalent to the Zombies and the Beach Boys, but with added soul and extraordinary roots raggae and dub beats. Sata Massagana was recorded in 1968 and means “give thanks and praise” in Amharic (the language of Ethiopia). This pressing of Sata Massagana on Heart Beat Records is a deluxe edition with four unreleased tracks. If you are not captivated by the Abyssinians smooth and gorgeous vocalization then you are truly soulless.

Pat's Album Picks

Dri - "Smoke Rings" [Range Life]

Somewhere between the beatyness of Daedelus and the vocals of Esthero is Dri. From Lawrence Kansas, on Range Life records (White Flight), this is the newest project from those famed musicians The Anniversary. Dri was the keyboardist for that band, and is now making music that is completely unrelated to the sounds she used to put out. With production that might as well be from the beat makers of S.F., and vocals that just completely take over, this is one of the best debut CDs to cross my desk in a long time. It was also the runner up for CD of the Month...if that means anything extra to you.

Sally Shapiro - "Disco Romance" [Paper Bag Records]

Italo disco from Sweden. Completely weird right? Well Sally Shapiro is here to prove that wrong. With catchy, slow disco jams littering this CD, it's hard not to move to. Get into it, it's somewhat cheesy but once you get over that, you'll be in love.

Week of 10/14/07

Conor's Album Picks

Various Artists - "Box of Dub 2" [Soul Jazz]

Once again Souljazz Records is on the forefront of East London’s stimulating and fresh dubstep and future dub scene. Box of Dub 2 is a misleading title; the compilation is neither a box set nor traditional dub. Nevertheless, the compilation is stronger than the previous installment and it portrays the quick evolution of both dubstep and future dub. There are two striking differences in the genres progressions. First, vocals are now more prominent, especially considering the music used to be primarily instrumental. Secondly, the codeine induced pace now seems to be laced with cocaine.

Om - "Pilgrimage" [Southern Lord]

Om, the renowned rhythm section for stoner-metal goliaths Sleep return with their third LP. On Pilgramge Om’s sonic textures are clearer than ever due to Steve Albini’s (Big Black, Rapeman, & Shellac) engineering. Al Cisneros colossal bass lines are hypnotic and Chris Hakius’ drumming still sounds as though demons are dragging victims in chains down to the underworld. Pilgrimage is a dark spell casting work that captures listeners and drags them through majestic woods and foggy bogs. I bestow Pilgrimage five pentagrams.

Charalambides - "Likeness" [Kranky]

Since the early 90’s husband-and-wife duo the Charalambides have been experimenting with ambient space and psychedelia. Tom and Christina Carter have been described as “rural space progenitors”. On Likeness, their eighth full-length, their exploration into the lethargic depths of the universe is prolonged. New discoveries have been made along the way, proving their slow and delicate voyaging does expand the possibilities of new terrain.

Resonars - "Nonetheless Blue" [Get Hip]

Who knows if Lenny Kay realized the effect his Nuggets compilation of 60’s garage, pop and psych gems would have on future generations when it was released in ’72? One thing’s for sure though, Arizona’s The Resonars are a product of the, then and now, revived interest in that sound. The swirling guitar and synched vocal harmonies lead by front-man, multi-instrumentalist and mastermind, Matt Rendon are proof. Rendon’s songwriting breathes new life into a style popularized some 40 years ago. Out on Get Hip Recordings “Nonetheless Blues” is the band’s 4th record and impressive in it’s ability to mimic but not steal the Psychedelic-Pop sound defined by bands like The Hollies, The Millennium and The Zombies of “Odyssey and Oracle”.

Week of 9/23/07

Pat's Album Picks

Old Time Relijun - "Catharsis in Crisis" [K Records]

Back to more of the same from Old Time Relijun. The best part of this band doesn't come across on the record, because it is the tight biker shorts and enthralling dance moves of their lead singer. In case this is news to you, these guys have been around for a hell of a long time, they provide a great beat for dancing and going nuts, and then skronk over the top of it. While it isn't the most incredible step forward, it's another solid album from these guys.

Yikes - "Whoa Comas or Blood Bomb" [Kill Shaman Records]

So I know I'm a little creepy when I open this CD up and instantly recognize John Dwyer from a profile picture because he's holding his guitar up to his chest, probably destroying everyone's ears and minds. John Dwyer used to front the Coachwhips, and they rocked harder than most bands in the world jumping on top of TVs and knocking shit over all the time. He also is the front of the more subdued OCS or Oh Sees. Even deeper, he was in Pink and Brown and has been one of my favorite musicians of the last 5 years. Okay, beyond this though, the Yikes record is more song structured than Pink and Brown, which is to say it isn't just noise music, and way less structured than the Coachwhips garage throwback sound...so if you like dirty garage rock say, the Sonics, and you idolize Lightning Bolt and Wolf Eyes' noise collages, this record is probably right there in the middle for you.

MV and EE with the Golden Road - "Gettin' Gone" [Ecstatic Peace]

Here's another record, like that Sea Wolf album I wrote about the other week, isn't near as good as it's preceding EP/Album, "Green Blues," would make it out to be. The slow droney freak folk/psych folk group has changed a bit since the heyday of their 12 minute jams. Not to say length is the only downfall here, MV & EE with the Golden Road have somewhat left the full 13 songs on this album with something to be wanted. They just didn't deliver the full reverb drenched, droned out, psych heavy sound that they had before, and who knows why. Maybe it's the subdued female vocals that were needed to make the male vocals not terribly out of key (or at least harmonize with) that have backed off and don't appear as frequently as they did on "Green Blues". But something positive should be said here, the album isn't lacking in great songs, it's just a smaller percentage of the whole, maybe 2 or 3 that sound great, which when compared to the previous release that was only 7 songs, that isn't too bad. This is long winded and not very positive but in the end, the point is, check out "Green Blues" even if you hate "Gettin' Gone."

Konono No. 1 - "Live at Couleur Cafe" [Crammed]

KONONO No 1 was founded over 25 years ago by Mingledi, a virtuoso of the likembé, which is a traditional instrument sometimes referred to as the “thumb piano.” It’s made of metal rods that are attached to a resonator. The band consists of three electric likembés equipped with hand-made mics built out of old car parts. There’s also a rhythm section which uses traditional and makeshift percussion, like pots, pans and car parts. There are three singers and three dancers.

The group is from Kinshasa, Congo. Most of their instruments are made of salvaged times from a junkyard and their amplification consists of a microphone carved out of wood fitted with a magnet from a car alternator. The band has had to incorporate the originally unwanted distortions of their sound system, but it now is a contributor to their unique sound. The band has recently toured with Bjork and appears on her new album, “Volta.”

Various Artists - "Guilt by Association" [Engine Room Records]

All right all you hipster music snobs, this album is for you! Do you feel guilty when you find your old Spice Girls CD (or tape), put it on, and still remember all the words? This album is full of covers of your favorite one-hit-wonder songs, as well as those catchy gems you listened to on repeat for three years. “Guilt By Association” features some hip artists of today remaking songs of yesteryear. Don’t feel bad if you feel a strong connection to the covers of your favorite old songs…just embrace it!

GBA features artists like Devendra Banhart, Luna, The Concretes, Jim O’Rourke (producer for Joanna Newsome, Wilco, Beth Orton) Will Oldham, Superchunk and Mike Watt (among others).

Various Artists - "Brazil 70: After Tropicalia" [Soul Jazz Records]

“Brazil 70: After Tropicalia” is the follow up to “Tropicalia: A Revolution in Sound.” “Brazil 70” starts exactly where the first album left off, still mixing styles of Brazilian music influenced by American and British underground rock music from the early 70s. Although Brazil’s Tropicalia movement only lasted a little over a year due to the country’s dictatorship, Brazilian artists continued to make music that was banned by the government. Brazil experienced oppression the most during this decade. Artists from the Tropicalia period of the late 60s such as Gilberto Gil, Caetano Veloso, Tom Ze, Rita Lee (lead-singer of Os Mutantes) and Gal Costas started mixing rock, funk, samba and soul with new, like-minded artists, like Novos Baianos, Raul Seixas, Nelson Angelo and Joyce and more. Although they were constantly worried about being imprisoned for making this music, they still continued to create art that covered topics like identity, sexuality and society in a revolutionary way.

Mick Turner/Tren Brothers - "Blue Trees" [Drag City]

Dirty Three guitarist and painter Mick Turner returns with a compilation of vinyl only releases and previously unreleased material. Joined on the first six tracks is Dirty Three drummer Jim White, who has worked with Bonnie ‘Prince’ Billy, CatPower, and Nina Nastasia. Together, Mick Turner and Jim White are the duo Tren Brothers. Blue Trees, like other Mick Turner solo material is skeletal but complex. With beautiful fragmented guitar lines and intricate drumming, Blues Trees is a gorgeously mysterious collection of instrumental sounds.

Damon & Naomi - "Within These Walls" [20/20/20]

After fifteen years as a duo (following the breakup of the legendary slowcore/shoegaze group Galaxie 500), Damon & Naomi are still releasing gorgeous and strikingly interesting records. Within These Walls is their seventh release and picks up from their 2000 release Damon & Naomi with Ghost, with the addition of Japanese psychedelic-guru Michio Kurihara (Ghost, White Heaven The Stars, and recently Boris) on guitar. With the accumulation of strings and horns, Within These Walls is lush, sonically more massive than their previous efforts, and an absolute masterpiece.

Robert Wyatt - "Comicopera" [Domino]

Now 72, Robert Wyatt has been releasing records since 1968’s Soft Machine [Volume 1]. Divided into three acts (I: Lost in Noise, II: The Here and the Now, III: Away with the Fairies), Comicopera is an amazing exploration into the depths of a remarkable songwriter. During Act Three, Wyatt shifts from singing in English to Italian and Spanish as an anti-war protest. Joining Wyatt on Comicopera are his friends Brian Eno, Yaron Stavi, and many others—he wrote of this experience as follows, “Music isn't just an abstract pleasure, it is company, when you play a record. Why I like Duke Ellington and Charles Mingus, the Big Bands - is because every character in the band is identifiable as that person - there's this group of humans in a room."

Old Time Relijun - "Catharsis in Crisis" [K Records]

Drawing from Captain Beefheart, free-jazz, and no-wave, Old Time Relijun continue in the same vein they have always flowed through. Marking theirdecade career, Catharsis in Crisis is the group’s eighth release. Like usual Catharsis in Crisis features plenty of scronking saxes, hip-shakin’ beats n’ bass lines, fragmented guitar lics and Arrington De Dionyso’s bizarre vocal blurts!

Sir Richard Bishop - "Polytheistic Fragments" [Drag City]

Sir Richard Bishop of the Sun City Girls has been releasing solo material since1998. Polytheistic Fragments is his first record on Drag City and
is least experimental work to date. It is his first album since the breakup of the Sun City Girls, due to percussionist Charles Gocher passing away in early 2007. Polytheistic Fragments is as diverse as Bishop's musical knowledge. Delving into flamenco and Spanish classical styles, Pan-Asian modalities and Indian ragas, and Appalachian folk pieces. Though Polytheistic Fragments doesn’t reach the bewilderment of his lengthier pieces, the album is still an astonishing display of virtuosity.

Peter Brotzmann - "The Complete Machine Gun Sessions" [Altavistic]

The Machine Gun Sessions is an absolute onslaught; in fact that is quite an understatement. My piddly little words could never do the work justice. Recorded in 1968 in Germany, the Machine Gun Sessions is the most extreme improvisational piece I have even heard from the 1960’s. I usually prefer American free jazz to European outfits, however Peter Brötzmann has truly put me in my place. The only activity possible while listening to these sonic assaults is complete submission. The skronking is a relief, which is an incredible accomplishment. I have even heard the drummers had to record in tents because the horns section was so loud they couldn’t even hear their playing. If you can sit through The Complete Machine Gun Sessions without a break, you are a warrior!

Week of 09/16/07

Pat's Album Picks

Sea Wolf - "Leaves in the River" [Dangerbird]

Pretty easy to listen to folkish stuff here. The full length is good, but I really just wanted to write about them because the best song that is on the full length is also on an EP they did a while ago and I wouldn't want anyone to miss that connection. The EP is better than the full length in my opinion, so make sure and check it out. Although they do a good job, less is more for these guys and the more sparse the songs are, it feels like they have a larger weight and greatness.

Tunng - "Good Arrows" [Thrill Jockey]

What?! Tunng you say?! Well yes, this is back to that Why? style of music, the electronic indie rock/pop stuff with a strange beaty and experimental feel that comes from people with excellent production knowledge and a capability to innovate, coupled with the want to create something all together exciting. Books, Animal Collective, and old Figurine fans get behind this record, you've been sleeping if you didn't see it coming.

Calvin Harris - "I Created Disco" [Heavenly]

Cheesey...yes. Dirty...yes. Incredible...yes. Get your hands on this record if you like the way dance music has been heading with the thick synthesizers and deep basslines. This guy has some of the worst lyrics in the world, but you can overlook that he just said the stupidest thing you've heard in months because you can't stop dancing. He's huge in Europe. You should like him. Duh.

Magic Numbers - "Those the Brokes" [Heavenly]

So this got released in 2006, but only in Europe. It just now got sent to us over here, and if I had known it was out in Europe you can bet we would have had it a long time ago, because it's incredibly good. Just the first 4 songs make this record worth listening to over and over again. They have that 60s rock/pop sound, wear bell bottoms and their hair long, and write epic songs.

Brooke Waggoner - "Fresh Pair of Eyes" [Self-released]

The story behind this record is that my MOM of all people turned me onto this girl. I guess she works with Brooke's mom and the CD made it through their hands up to me. It's something like Nellie McKay, Regina Spektor, Feist...etc. Just a pretty girl doing pretty songs on a pretty piano. The cut that made this album for me was "So-So" which is all about being homesick and missing Colorado...which at the end of my internship was exactly how I felt.

The Good Life - "Help Wanted Nights" [Saddle Creek]

This album is in my top 10 for the end of the year definitely. If you don't know, Tim Kasher is the leading man in Cursive, and this is his side project that tones it down a bit and is straightforward. I think it's one of the best releases this year, easily. Folkish music with a tiny tinge of country rock and it's got songs that you connect to right off the bat.

Action Makes- "Charley and the CFF/Get the Joke (45 rpm)" [Magnificent Sevens]

Debut release by Toronto based quartet Action Makes, out on the neighboring Magnificent Sevens label, which has released four singles to date. The A-side is a garage/R&B inspired rocker full of fuzz guitar, backing harmonies, hand clapping, tamborine, wailing harmonica, and a genuine vocal delivery from front man Clint Rogerson. It's flip "Get The Joke" trades harmonica for keys and takes bits of the same style in a different and more modern direction; drawing on influences like Joy Division.

American Relay - "Corn and Oil" [Pygmy Mountain Music]

Like Bob Log III or R.L Burnside of recent years, Denver's very own American Relay (Nick Sullivan Guitar and Vocals, and Alex Hebert Drums and Washboard)take the blues strip 'em down, soak 'em with rock, light a match and suck in the fumes as they dance around the fire! Is that what people mean by "blues-punk?" In any case,the above mentioned artists got a head start and acts like the White Stripes and Black Keys continue to serve up worthwile material. American Relay however, add something new to the recipe by embrassing some real classic and southern rock sensibilities. Some of it will probably remind you of "Black Magic Potion", granted, but, these guys also aren't afraid to reach back into rock n' roll's past to borrow from one of it's earliest incarnation, rockabilly.

Albert Ayler Quartet - "The Hilversum Sessions" [ESP Disc]

The Hilversum Sessions were recorded at a radio studio in the Netherlands on November 9th, 1964 in front of a dinky audience. It was the last time Don Cherry, Gary Peacock and Sunny Murray played under the title of the Albert Ayler Quartet. “Ghosts,” “Spirits,” and “C.A.C,” later titled “The Witch” all appear on 1964’s Spiritual Unity. Like many of Ayler’s essential 60’s records, The Hilversum Sessions feature an uncanny balance between furiousness and melodic beauty. The language weaved together by each of the players is a seasoned force which is not only uncommon but incomparable.

Akron/Family - "Love Is Simple" [Young God Records]

Out on Michael Gira’s (Swans and Angels of Light) Young God Records, Love is Simple is the group’s fourth release. Though lumped into the free-folk gener, Akron/Family is much more than a folk outfit. Mixing experimentation and collapsed structures with melodic frames, the group always manages to take off in multiple directions while some how maintaining cohesiveness. Akron/Family has pretty much become the house band for Young God Records, in which they back Michael Gira in his latest effort, Angels of Light. Even though the group has always flirted with hippie jams and themes, Love is Simple pushes the flirting to full on lust.

M83 - "Digital Shades (Vol. 1)" [Mute Records]

Influenced by Brian Eno and Krautrock, Digital Shades Volume 1 is Anthony Gonzalez’ first collection of ambient works. M83 is a shoegazer electronic group from France and have been described as the electronic equivalent to My Bloody Valentine. Digital Shades Volume 1 is a gorgeous collection of slow, translucent and nocturnal tunes, which are primarily instrumental. The album is reminiscent of Krzysztof Penderecki’s 1960 piece Threnody to the Victims of Hiroshima.

Various Artists - "Home Schooled: The Abcs of Kid Soul" [Numero Group]

Home Schooled Kids is another wonderful compilation from Numero Group (they put out all the Eccentric Soul albums), this time it's a bunch of songs that were recorded by kids in the 60s and 70s. The Jackson 5 are (obviously) the most famous in the genre of kid stars making soul music at that time, but here are tons of examples of other kids who were doing the exact same thing all over the country. Some were pushed by overbearing fathers (like the Jackson 5), some were manufactured groups, and some were just kids looking to have a good time. But what ultimately comes from of this compilation is really honest music from the kids who aspired to 'make it' in the industry.

Week of 09/02/07

Pat's Album Picks

Jason Anderson - "Tonight" [ECA Records]

Oh so you thought Jason would stay on K because that's been his label for, like, ever...well so did I. Out on ECA records is this new and improved Jason Anderson record. With a more electric and almost soul feel to some of the songs. It comes out of the gates with a saxophone, piano, and full band song. I mean, who switches from sparse folk music to this big of a sound and makes you love it? Well it's Jason Anderson. He used to be Wolf Colonel so if that rings a bell, pick this disc up. Included is a reworked version of a song on his last album, So Long, and this one gets the royal full band treatment. Be ready to sing along, and if he tours within any bordering states, be prepared to roadtrip with me.

Various Artists - "BIPPP French Synth Wave 1979 - 1985" [Born Bad Records]

Conor freaked over that After Dark compilation a while back, right? Well something tells me that this is the second dance album Conor will like this year. Somewhat in the same vein, this disc is from the time period that all those people on After Dark were covering originals of. It's sort of like the French equivalent to Italo disco, and while some is super cheeseball, it's also got gems that you will be hearing on any dance floor around...well maybe not in Denver, but let's hope.

Ed's Picks

Charlie Feathers - "One Good Gal/Cockroach (45 rpm)" [Norton]

With two full-length Charlie Feathers releases under their belts already, Norton records chiefs Billy Miller and Miriam Linna just can't get enough! And they're not alone! The "One Good Gal/Cockroach" single serves as a teaser for Norton's upcoming third Feathers compilation, which will consist mostly of never before released material from the often ignored rockabilly pioneer and country stylist who originally got his start as a session musician working for Sam Phillips at the legendary Sun Studios in Memphis, TN. "One Good Gal" is a hoppin' bop cut which showcases Feathers' genuine vocal style; the B-side is a hauntingly rhythmic instrumental. Both will most likely be featured on the upcoming full-length.

Various Artists- "Psychedelic States: Colorado in the 60s " [Gear Fab]

The latest installment of Gear Fab records' "Psychedelic States" series is a two disc compilation of rare and previously unreleased tracks from the Centennial State ('65-'69). The sixties categorized a variety of sounds and styles and with the exception of proto punk garage, a la Sonics or most anyone featured on Crypt records’ “Back From the Grave” series, this set provides a range of them; from Dylan inspired folk-rock ballads, to early Stones-type R&B, and loungy sixties pop. Of course, this compilation also features psych/pop gems and complete audio hallucinations. Whether or not Colorado had a particular "sound" is yet to be proven, but acts like the Poor, Monocles, the Trolls, and Doppler Effect, if nothing else provide good evidence for a Colorado "scene".

*Sound quality varies due to the limited availability of the original records/tapes.

Conor's Album Picks

Magnolia Electric Co. - “Sojourner (Box Set)” [Secretly Canadian]

Split into four sessions, the Magnolia Electric Co. box set "Sojourner" features "Black Ram", "Nashville Moon", and "Shohola", all of which are full-lengths in addition to an EP of "Sun Sessions". Though some of the tracks are featured on other albums, most of them have been taken in new directions. "Nashville Moon" was recorded by Steve Albini at Electric Audio Studios and features the entire group. Whereas "Shohola" is the result of Jason Monlina on his own with his desperate voice and an acoustic guitar. Though "Black Ram" also features the entire band, the mournful tempos give the album a bare feeling. The "Sun Sessions" were recorded in Memphis in 2006, while Magnolia Electric Co. was on tour for their third album Fading Trails. "Sojourner" is not only an incredibly prolific project, but it’s also the most beautiful and honest material Jason Molina has released since his early days with Songs:Ohia.

Week of 08/19/07

Conor's Album Picks

Angels of Light - “We Are Him” [Young God Records]

Whether fronting New York art legends Swans, working in the instrumental outfit Body Lovers, doing spoken word poetry, or creating song-oriented material with Angels of Light, Michael Gira always has an unexplainable intensity and a sonic presence that is entirely original and unmatchable.

Released on his label Young God Records, We Are Him is the fifth release from Angels of Light. Though Gira’s sheer darkness and disturbing sound is not absent on We Are Him, it is his most approachable work to date. Fellow label mates Akron/Family join Gira and the outcome once again proves Gira’s uncanny ability to create genuine human expression.

Burial - “Ghost Hardware (12" single)” [Hyperdub]

Ambient dub producer Burial is one of the most innovative artists of the emerging South London dupstep scene. Burial creates a tranquil and dark atmosphere with creeping tempos, muddy samples and minimal but interestingly structured beats. Ghost Hardware is his second official single and first release following his 2006 self-titled full-length debut, which is now considered by many to be the quintessential dubstep album. The sound on Ghost Hardware is analogous to his self-titled debut, but with so little released Burial is far from treading on old ground.

Hala Strana - “Heave the Gambrel Roof ” [Music Fellowship]

Heave the Gambrel Roof is Stephen R. Smith’s (Jewelled Antler Collective, Thuja, and Mirza) forth album under the name Hala Strana. Smith started Hala Strana as an outlet to release material that would not fit with his other projects. Though usually dubbed as psychedelic folk, Hala Strana’s experimental approach cannot be packaged into such an ambiguous term.

“Havazi I Dy Motrave,” “Havazi I Dy Motrave” and “Wedding of the Blind” are derivatives of traditional Albanian folk songs. With droning strings and countless other instruments and noises and Faheyesque finger-picking, like plenty of Smiths recordings Heave the Gambrel is fascinating to say the least and at times very remarkable.

Pictureplane - “Turquoise Trail” [Self-released]

Pictureplane, named the "Best One Man Band of Denver" by the Westword last year, is the work of art student/Rhinoceropolis resident Travis Egedy. For a few years now he's been making blasting beats with keyboards and samples that lie under his remarkably sincere vocals. His music is full of tremendous energy and emotion. One track on "Turqoise Trail" features Beirut's Zach Condon, who shares a homestate of New Mexico with Travis. This is Pictureplane's second album and it's all about travelling to the "turqoise dimension."