When We Are Inhuman, the beguiling new album billed to Bonnie “Prince” Billy, Bryce Dessner, and Eighth Blackbird, begins with quarter note pulses from a single instrument. Alternating pulses from a second and then a third instrument join in before ultimately giving way to the melody of “Beast For Thee,” a song originally heard on Superwolf — the tremendous 2005 collaborative album by Bonnie “Prince” Billy and guitarist Matt Sweeney. […]
Terry Allen is a maker of things. A sculptor, illustrator, playwright, collagist, and, perhaps most famously, a singer and songwriter who, over the last five decades, has amassed an extensive catalog of avant-country gold. His 1975 album Juarez, a striking and brilliant concept album that plays as a kind of sunburned, southwestern Badlands, and 1979’s sprawling Lubbock (On Everything), a rollicking and wry send-up of Allen’s West Texas hometown, are rightly held up as unimpeachable masterpieces of proto-americana music. Each have recently received extensive reissues by the North Carolina label Paradise of Bachelors, who will also issue Allen’s forthcoming new album.
Line Out, a one hour piece featuring twenty recordings from psychedelic and avant-garde mainstays like Can and Faust, lesser known practitioners such as Agitation Free and Novalis, and contemporary experimenters including Dungen, Beak >, and Califone, amongst others. The end result is a sometimes mesmerizing, sometime amusing, and wholly psychedelic experiment. Tune In. Turn On. Line Out.
(Welcome to Videodrome . A monthly column plumbing the depths of vintage underground cinema – from cult, exploitation, trash and grindhouse to sci-fi, horror, noir and beyond.) Sometime around college, I […]