Formed and led by pianist/composer Marc Moulin, Placebo were a mellower, funkier, Belgian counterpart to the progressive fusion being cooked up elsewhere across the pond by Nucleus and post-Wyatt/pre-Bundles Soft Machine . . .
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Taking the form of a cosmic lament, Lonnie Holley's "I Went a Little Too Far (Mistreating Love)" aches with Anthropocene remorse, and like all of the Atlanta-based artists's best work, is imbued with an emotional resonance that's as mournful as it is beautiful. "In this video I fell in love with the image of him as a sort of prophet, wandering the planet, warning the inhabitants to change our ways," says director Ethan Payne. "To 'repent' of how we harm each other and the earth . . .
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Group Listening—the UK duo of clarinetist Stephen Black and pianist Paul Jones—returns with Clarinet & Piano: Selected Works, Vol. 2. The follow-up to their 2018 debut is a wintry gift, finding the enterprising instrumentalists again interpreting tunes with a tastefully minimalist approach— adding light touches of field recordings, tape manipulation, and drum machines onto their winds and keys covers of works by Beverly Glenn-Copeland, Robbie Basho, Laraaji, Syrinx, and more . . .
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Transmitting from the hills of Glassell Park, California, welcome to episode ten of the Aquarium Drunkard Picture Show. Weird times, strange signals.
Feat: Tex Crick / Kikagaku Moyo / Michael Kiwanuka / Shintaro Sakamoto / Babe Rainbow / Jon Mckiel / Allah-Las . . .
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Show up for Sroeng Santi's mutant rip of Sabbath's "Iron Man" riff, stick around for the sideways garage-funk that is "Dub Fai Kui Gun". A sepia snapshot of a vanished era, Finder's Keepers' Thai? Dai! (The Heavier Side Of The Luk Thung Underground) is proof in advertising. Over the course of its fourteen tracks, the compilation goes heavy on the fuzz/scuzz providing an animated glimpse of assimilated western sounds as infused into the country's regional, sonic vernacular . . .
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There’s something instantaneously familiar about “The Willow Tree,” a loner-folk gem by singer-songwriter Cleveland Francis. It the kind of song Donny Hathaway, Fred Neil, Judy Collins, or Nina Simone could’ve given hell. Delivered in Francis’ pleading, wistful tenor against subtle acoustic strumming, “The Willow Tree” reflects a world intent on injustice and misunderstanding, where the roads to peace are traveled alone and shown to others along the way who wish to find solace. Uncovered by the diggers at Forager Records, the song serves as a teaser for Beyond the Willow Tree, a comprehensive anthology of Cleveland . . .
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Slithering and dangerously funky, "Nile Waves" is a sinister slice of instrumental cool. Chugging drums and woozy saxophone follow lead guitar as the band locks into a humid groove. The steadiness is hypnotizing, the playing unapologetic in its minimalism . . .
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Jack Cooper's Modern Nature returns this week with Island of Noise. Since its 2019 inception, the album marks the project's second official long-player in addition to a string of live recordings, mini-albums and an ep. To accompany the release, Cooper teamed with filmmaker Conan Roberts on an eponymous, 39 minute film. Shot around a small village near Cambridge, the film's original impetus stemmed from Cooper's explorations of the area's surrounding forests and fields. Cooper notes, "one morning in . . .
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It may be the dead of winter, but Zachary Cale's latest offering is a welcome dose of sonic sunshine. The first taste of the songwriter's forthcoming Skywriting LP, "Bigger Picture" is anchored by an irresistible guitar hook and a buoyant rhythmic groove from by Peter Kerlin (Sunwatchers, Chris Forsyth and The Solar Motel Band) and Charles Burst (A.C. Newman, Psychic Ills . . .
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Fusell’s latest, Good and Green Again, doesn’t signal a major shift in the singer-guitarist’s approach, but it might be his best effort yet. His elegant and earth fingerpicking has always been a highlight, but here it’s Jake’s vocals that really capture (and keep) your attention. He’s singing a bit sweeter, a bit softer, this time around, taking us deeper into these ancient, elemental tunes, as well as a handful of originals . . .
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Countrygaze outfit Wednesday cover Gary Stewart, Roger Miller's "Lock, Stock, And Teardrops," and offer a loose and heavy one for all the "Cooley Heads" in the house with Drive-By Truckers' "Women Without Whiskey . . .
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Today on our weekly interview podcast Transmissions: occult scholar Mitch Horowitz. For this talk, Horowitz opens up about his musical roots, Bad Brains, his vast t-shirt collection, musical telepathy, and much more . . .
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A muscular guitar record that never succumbs to cliches, sometimes wiry and sharp-edged like Adventure-era Television, sometimes loose and groovy like early 70s Dead. The multi-generational aspect of Garcia Peoples is another boon; not only do they count the mighty PG Six (Tower Recordings, Wet Tuna) in their ranks, for Dodging Dues they’ve brought in the ultimate ringer Matt Sweeney (Chavez, Endless Boogie, Superwolves) to produce and add his expert six-string skills . . .
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A mysterious entry in the canon of Japanese minimalism, Série Réflexion 1 was the debut and swan song of Oscilation Circuit, a short-lived ensemble helmed by composer Kenichiro Isoda. Released in 1984, the album was intended to launch a new series for Satoshi Ashikawa’s Sound Process label, whose Wave Notation albums had already heralded a new phase of ambient composition . . .
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During the late '00s Strut Records launched its Inspiration Information series, an experiment in collaboration placing simpatico artists in the studio together for semi-impromptu recording sessions. The series fourth installment found Nigerian Afrobeat drumming legend Tony Allen in the room with Finnish multi-instrumentalist Jimi Tenor . . .
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