John Grant on his synth-dappled Boy From Michigan, produced by Cate Le Bon, full of Blade Runner synths pulsing underneath incredible melodies and vocal performances . . .
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This is folk-jazz straight from the source, folks. Shimmering, harplike chords swirl around Mitchell’s sylvan-siren-meets-full-throated-thrush descants, while Blade’s thundering percussion and cymbal splashes push it into those poignant uppers . . .
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Evan Cheadle’s debut full-length is a staggering collection of hazy and fragile songs, adorned with the finest of baroque and psychedelic flourishes. Written between several years of touring as a member of Canadian stalwarts The Deep Dark Woods, Fault Line Serenade builds upon Cheadle’s 2018 EP, and recalls greats like Bill Fay or Gene Clark and more contemporary earthy travellers like Josephine Foster or Jacco Gardner . . .
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Next Thursday, June 24, we are hosting our third night of dedicated listening to the perennial ECM Records catalog. Free to attend with RSVP, the event is in conjunction with In Sheep's Clothing hi-fi, at Neuhouse in Los Angeles. 7pm-midnight. Expect full sides from Eberhard Weber, Codona, Steve Reich, Wolfgang Muthspiel, Terje Rypdal, David Darling, Don Cherry, Shinya Fukumori Trio and . . .
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A good thing: in celebration of Juneteenth this year, Bandcamp is donating 100 percent of their fee share of sales to the NAACP Legal Defense Fund on Friday, June 18. So, you’ll get some new music, support artists, and help a great cause. A win-win-win. In need of a few recommendations? Here are a few recent releases that are worth your time and money . . .
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Here we find a funky Gainsbourg, back from the near-dead, with Alan Parker on chicken scratch, wah-wah guitar, KPM's Alan Hawkshaw on keys, Chris Karan on percussion and a rhythm section on lock . . .
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Recorded live in the fall of 2019 in Brooklyn, At Pioneer Works has a calmness and serenity about it. Melodically, there is plenty of room to breathe. Each instrument – vocals, guitar, hand claps, percussion -- fills in what it needs to organically. Nothing is overworked, just enhanced . . .
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Sound’s impact can be felt along a wide spectrum of contemporary sonic explorers: The saxophonists Chris Pitsiokos, Sam Gendel and Aaron Burnett, for instance; as well as in the works of the drummer/composer Tyshawn Sorey and his iconoclastic contemporaries Mary Halvorson and Jeremiah Cymerman; and not to mention the Folk-Jazz experimentalist Sam Amidon . . .
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The following mix is a tribute to the brilliant--sometimes misunderstood--artist, featuring a selection of albums under Brooks' own name, as well as crucial collaborations. It ends with a blistering version of Woody Shaw’s composition, “Zoltan,” taken from the exceptional new collection, Understanding . . .
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Tropical orientation. The Aquarium Drunkard Show on SIRIUS/XMU, channel 35. 7pm Pacific, Wednesdays. No static at all.
34.1090° N, 118.2334° W . . .
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Wire singer/guitarist Colin Newman and former guitarist Bruce Gilbert join us for a conversation about PF456 Deluxe, released June 12 for Record Store Day, which documents the band's transitory turn at the start of a new century . . .
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Our guest is electronic composer Cécile Schott, who records as Colleen. Her latest album of spacey synths and vintage drum machines is called The Tunnel and the Clearing and she joined us for a talk about its roots in heartbreak and personal rebirth . . .
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"It’s all human, baby, and we're all just trying to figure it out." Jenn Wasner of Wye Oak and Flock of Dimes joins collaborator Alex Toth of Tōth for a conversation about creative health, meditation, and personal acceptance . . .
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Eschewing mainstream sounds from the musical spectrum of North Africa and the middle east, this niche collection highlights largely overlooked artists riffing on Egyptian organ funk, Moroccan disco, Lebanese protest music, Libyan reggae, Algerian library music and beyond . . .
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In their ongoing excavation of all things Robert Cox, RVNG Intl. has released Sync or Swim, the sole album from The Same, a document from 1981 which finds Cox and fellow DIY enthusiasts exploring their own version of British psychedelia, or as Cox called it: “folk music meeting technology and going bonkers . . .
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