Izenberg’s unpredictable song structures and weary vocal lines are his and his alone. The ride is a wild—almost terrifying—one at times, but as soon as you start to feel a little turned around, Izenberg is there to pick you up and dust you off.
Loaded has been rightly celebrated plenty over the decades, but what the hell, let’s celebrate it a little more. This latest Unearthed mix cobbles together an alternate version of the LP via some tasty live recordings, rehearsal tapes, backstage jams and other obscurities. Recording quality varies wildly, performance quality is great throughout. Heavenly wine & roses await.
It’s been a little over seven years since the untimely death of Jason Molina, and despite his relatively prolific output with Songs: Ohia and Magnolia Electric Co., his story still feels like one with missing parts, especially towards the end. Enter: Eight Gates.
When Matt Popieluch of Big Search began writing the song “Infinite Mirror,” he heard musician’s musician Chris Cohen’s voice in his head. That dream becomes a reality with the duo’s gorgeous harmonies guiding a piano-led tune, swelling in splendor with wordless vocals and warm jets of guitar while drifting towards its conclusion.
Jazz comp aficionados might know The Positive Force with Ade Olatunji’s “The Afrikan In Winter” from Jazzman’s essential 2008 collection, Spiritual Jazz – Esoteric, Modal And Deep Jazz From The Underground 1968-77. But it’s hardly the only remarkable composition on the hyper-rare private press album it was pulled from, 1977’s Oracy. An invigorating blend of spiritual jazz, funk rhythms, and socially-conscious poetry, this incandescent document of the independent Black art scene of ’70s Detroit has recently been reissued by New Zealand label Rain&Shine.
Via satellite, transmitting from northeast Los Angeles — the Aquarium Drunkard Show on SIRIUS/XMU, channel 35. 7pm California time, Wednesdays.
With everything falling apart around us, the need for honest sounds is great. On A Hero’s Death, Irish post-punks Fontaines D.C. offer up “anthems full of sulking, threatening poetry.” Guest reviewer Ken Layne of Desert Oracle weighs in on their punk rock poetry and fervor: Irish poetry and literature mixed with “post punk” sounds like a formula that would be pretty well worked over by now, but Fontaines D.C. make it sound alive and kicking, a brilliant new idea.
It’s hard to sum up Phil Elverum’s story, but in a weird way, that’s kind of what he does on his new record, The Microphones in 2020, which features one, 44-minute long song. It’s his first time using the Microphones name since 2003, and to hear him express it, it’s kind of an album about identity. While it’s no less autobiographical than his recent records, it’s a step in a different direction, temporal poetry about transience and the way a person becomes a different person—but somehow, it’s also how they stay the same person. Once again, we’re dabbling in paradox and contradiction. This week on Transmissions, he opens his (virtual) door and invites us in to discuss the new album, personal history, identity, and Weird Al.
Timing is everything. In the case of musician Steve Elliott Sloan nothing could be more true. Born in 1950, Steve is a self taught musician, producer, songwriter, and a pioneer of DIY bedroom recording. Between 1981 – 1982 he self-recorded and released two records. At the time of release, he only sold about 15 copies of each. Last year, both albums were remastered and reissued by New Zealand’s Rain and Shine Records.
Dylan historian James Adams’ hour-long, monthly, program diving deep into the depths of all things Dwarf Music.
Episode 008: Remembering the late Bucky Baxter (1955-2020)
The first of three collections that gather together a whopping 48 songs recorded in late 2002, in between Time (The Revelator)Soul Journey. An astounding cache of previously unheard Welch/Rawlings music, made even more astounding by the fact that these four-dozen tunes were laid down in the space of just a few days.
Drive west on Sunset to the sea . . . Those familiar with the psychic topography of Los Angeles are keenly aware of the undercurrent Donald Fagen’s vocal inflects as […]
Cedric Noel is a one-man song factory. From his home base in Montreal, he’s bounced from genre to genre, producing emotionally driven indie-rock, ambient synth music, and romantic electro-pop under his Special Solace alias. His latest moves into a heavy reverb-drone rock sound. “Nighttime (Skin)” showcases both his knack for heartrending melodies and Dinosaur Jr.-sized riffs and lyrics that explore the concept of identity.