A long-lost rehearsal tape for a 1976 tour that never happened, Göttsching and Hoenig's Early Water occupies a special place in the Ash Ra mythology. When so much of the Berlin space music scene was opting for massiveness, Göttsching and Hoenig recorded a beautiful, liquid jam of buoyancy and light . . .
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Legendary musician Makoto Kubota describes Echo You Know as a "sound postcard from Los Angeles", adding that he'd like to hear Yohei to produce the Beach Boys. Co-released by Japan's Think! Records and his own fresh Passing By imprint, the record is the most fully realized effort of multi-instrumentalist Yohei Shikano . . .
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Recalling the jangly bittersweetness of Elliott Smith and Jon Brion, the latest single from Los Angeles-based Fur Trader is an introspective ode to doubt and uncertainty, as instantly catchy as it is contemplative . . .
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A reminder that in a world of beautiful sounds, jewels can be discovered at any point. In the ten years since its release, Anna Ahnlund’s Omnejd has seemingly been a lost opus standing with the best of the freak-inclined folk world. With a host of perceived influences running the gauntlet from Vashti Bunyan to Andrew Bird to Devendra Barnhart, and accolades in her home Sweden, it must be some sort of oversight that this record has remained aloof for so long . . .
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The Hiroshima-born electronic music producer Rei Harakami recorded six albums of long-form, abstract ambience between 1998 and 2011, before passing away suddenly from a cerebral hemorrhage at the age of forty. He left behind a singular body of work—a submerged sound of delayed, downtempo techno and reverb-laden, leftfield electronic dance music—and even a handful of records with Akiko Yano. Immersed in film and animation as well, Harakami’s creative pursuits proved boundless, as seen via a recent survey of some early homemade recordings, which encapsulate a sojourner of sound at play with the infinite . . .
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Neil Young kept promising us that Archives Vol. 3 was coming in 2023 ... but guess what? It was delayed. That's OK, any Neil fan worth his/her/their salt is accustomed to the waiting game. And anyway, there was plenty to keep us occupied last year in Shakeyland — a return to touring (and subsequent live album); several"officialbootleg" releases; and ongoing shenanigans on the wild/wooly Archives website. This fourth annual Honey Slides mix gathers up some choice rarities that Neil has sprinkled throughout his site, alongside several cuts that have yet to see the official light of day . . .
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Rollerball’s current reevaluation is mainly due to its prophetic look at the future — a future that doesn't seem too far off from where we may be headed, sans roller-skates and leather pants . . .
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Whether Gerycz Powers Rolin are a band or simply a semi-annual happening, they have already staked a claim to the legacy of the great free rock ensembles of the turn of the millennium: Pelt and Jackie-O Motherfucker—or even their Aussie cousins in the Dirty Three. Three albums in, and they continue to make works that fuse folk forms with new age revery and minimalist heft. Whenever you find yourself down on the United States, just remember they are still making ecstatic music in Ohio . . .
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On their fourth album, Souvenir, Atlanta’s Omni continue to find variations within a spartan approach to Southern U.S. post-punk. Recruiting drummer Chris Yonker (Hello Ocho), guest vocalist Izzy Glaudini (Automatic), and first-time producer Kristofer Sampson (The B-52s, Nashville Pussy), the trio’s hooky, minimalist songs are sharper than ever . . .
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Objects and humans in conversations, mystic reflections on the every day. These notion shape Ohio composer Brian Harnetty's The Workbench, a work combining recordings of his late father with music and the sounds of items the elder Harnetty repaired . . .
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Embrace the dawn of a new year with the thirteenth installment of First & Last, a series of mixes providing a glimpse into the world of Japanese private press, or 自主盤, pronounced “jishuban”, which loosely translates to “independent board . . .
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From the cover's weathered look of a vintage postcard to the winding of a music box in the introductory piece, the self-titled debut from Floral Portrait is a rich tapestry of cozy psychedelic pop. The project is a collaboration of Athens, Georgia-based duo Jason Bronson and Jacob Chisenhall, as well as a substantial number of collaborators and session musicians. Recorded over four years at his Athens studio The Glow, producer Jesse Mangum lauds the project as "the most ambitious record I've ever worked on . . .
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New age was, in many ways, a confluence of developments across genres: prog and krautrock, electronic and space music, ambient and fourth world, modern classical, spacious ECM-style Euro-jazz. All of them were cultivating their own approaches to paradise music. What tips any of these experiments into new age may have been, more than anything else, a vibe—an earnestness about the spiritual potential of the music being made . . .
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Télégraphie sans fil. Via satellite, transmitting 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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Even now – after some 60 years of concept albums, ambient soundscapes, and post-modern sonic collage – the idea of aural spaces existing in the same realm as their written and visual counterparts comes across as novel.
On William Eaton’s aptly titled Music by William Eaton, listeners are granted the rare opportunity for holistic interpretation. The textured yellow sleeve bears no words other than the album’s title. No song names, no demarcation of tracks, no listed instruments or accompanying musicians. In keeping with this principle, the music is without words. Within these grooves lies Guitar Soli of a New . . .
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