Via Los Angeles, Bondo is a four piece riffing on a vibe something like Spiderland floating in a quarry with Fugazi’s latter era instrumental explorations. 77, their five song ep, is the first taste . . .
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It's a classic case of the ignored "contractual obligation" album. By late 1971 (fifty years ago this month), the Mamas & the Papas had all but fizzled out. The overnight, rollercoaster trajectory from Greenwich folkies to Hollywood excess was fast and turbulent . . .
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A mellow conversation with John Andrews concerning his dreamy album Cookbook, which plays like an extension of his personality; the foot-tapping and head-swaying effect from his previous two albums is still there, but its more relaxed, more easy-going. A perfect soundtrack to the incoming fall weather . . .
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For her debut Lagniappe Session, Le Ren's Lauren Spears digs in on her roots—tackling country and bluegrass popular songs, the pioneering Hazel Dickens, and the forward-thinking feminism of Kitty Wells—and weaves them her own: a warm, gentle tapestry with threads growing ever new . . .
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Not much in life is guaranteed — but you can be pretty damn sure that if David Kilgour’s name appears on a record, you’re in for something great. Whether playing with The Clean, solo, The Great Unwashed, or with the Heavy 8s, the New Zealand singer-songwriter-guitarist has 40 years’ worth of killer music behind him…and hopefully more to come. While we wait for fresh Kilgour, though, let’s check out some recent reissues . . .
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Theoreme—the one-woman band of France’s Maïssa D—returns next month with Les Artisans. On "L'enfer Définitif” she offers up discordant and clanging minimalist proto-punk and avant-garde electronica . . .
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Via satellite, transmuting from northeast Los Angeles — the Aquarium Drunkard Show on SIRIUS/XMU, channel 35. 7pm California time, Wednesdays.
34.1090° N, 118.2334° W . . .
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Justin Sullivan's Night Shop returns early next year with the release of Forever Night. "For A While", the project's second single, features Jess Williamson guesting on vox with an accompanying video directed by Jeff Davenport and Cooper Kenward . . .
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That’s right — another Bandcamp Friday hits on Nov. 5, 2021. A music lover’s feast, month after month, giving listeners a chance to put cash directly in artists’ and labels’ pockets. Like any good feast, the offerings can be occasionally overwhelming, so we’ve got a few recent recommendations if you’re in need, ranging from psych freakouts to pastoral jazz, from Egypt in the 70s to present-day New Jersey. Listen up, get down . . .
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This week on Transmissions, the final episode of the season: Steve Berlin. Steve plays saxophone in Los Lobos, whose new album is called, Native Sons. It features Los Angeles-centric covers by the likes of WAR, The Beach Boys, Buffalo Springfield, and Thee Midniters. But Steve’s a fascinating figure on his own. He came up in the punk scenes of LA, playing with The Blasters and the Flesh Eaters, but since then he’s gone on to work with everyone from Rickie Lee Jones to The Replacements, The Go-Gos to R.E.M. and many more . . .
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Following the split of post-punk minimalists Young Marble Giants, Stuart Moxham formed The Gist--a one-off project yielding a sole lp, 1982's Embrace the Herd. Until 2017, that is, when Moxham released Holding Pattern, a collection comprised of 14 tracks dating back to the early 80s, during a period in which the artist found himself holed up in Nottingham, England armed with a TEAC four track reel to reel and a cassette Portastudio . . .
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As the original member of the experimental rock band PC Worship, Mike Etten steps out of a darker and rugged sound and into a more authentic project of self expression on his new album Love Wash, in which Etten details scenes in time through a detail oriented lens . . .
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Jana Horn’s masterful Optimism was self-released in minimal quantities in 2020, but the ever reliable No Quarter Records is giving it a well-deserved re-press in January. It’s a gem-like collection that hangs together wonderfully, thanks not only to the songwriter’s quietly luminous presence, but also the subtle and sensitive arrangements that her band provides . . .
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Though known primarily as a fearless guitarist and improviser, Wendy Eisenberg’s third album as a songwriter further distills the cerebral lyricism of last year’s Auto and Dehiscene into something rawer and even closer to the bone . . .
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Dieter Moebius’ restless creative spirit is at the heart of a new project, overseen by his widow Irene and Story, his friend and frequent collaborator. Titled Moebius Strips, the work is an audio installation that uses a wealth of loops, noises, and recordings from the late artist, as well as adaptations of his work created by Portishead’s Geoff Barrow, Eve Maret, Phew, Devo’s Mark Mothersbaugh, and others—all fed into a multi-channel speaker system . . .
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