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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The ongoing revival of psychedelic rock... Latest case in point, Toronto’s Hot Garbage and their all-clad, carbonized and reverberating, debut LP, RIDE . . .
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An illustrious example of the power and influence of “The Monster’s Golden Era," The Black Cat (1934) is arguably one of the most significant horror films from its time. But the enduring significance of the film is its influence on the horror genre to come . . .
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The enigmatic Swedish collective Goat return with Headsoup—a collection of standalone singles, B-sides, digital edits and never before heard songs from across the group’s near-decade practice of psychedelic voodoo, along with two brand-new tracks recorded towards the end of last year. The collection plays as seamlessly and self-assured as any of the band’s studio albums, with Goat’s witchy brew of krautrock, African rhythms, psychedelic rock, ethio-jazz, and astral blues pungently filling the aural spaces around them . . .
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Broadcasting from the Hollywood Forever Cemetery … The Aquarium Drunkard Show. The Halloween edition, Wednesday night / 7pm California time. SIRIUS/XM ~ Channel 35 . . .
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Excavated from a box of tapes during lockdown, and sonically self-described as stoned, sunbaked and windburnt, LA's Oog Bogo's EP 2 vibrates on a woozy and wavy, lo-fi plane. Mixed and mastered by Ty Segall, and released on his God? Records imprint, the four tracks recall psych-folk whiffs of homespun Barrett and Ayers . . .
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This week on Transmissions, our weekly series of strange conversations: Roberto Carlos Lange of Helado Negro. His new album of electronic bliss pop, psychedelic ambient, and soulful love songs is called Far In. Lange joined host Jason P. Woodbury for a talk about Marfa, his journey through the world of independent music, expansive views of consciousness, and the early days of his musical practice—as well as much more . . .
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Doctor Death isn’t your typical Halloween fare. More sci-fi than horror, it's a post-apocalyptic Super 8 film from 1989, made by a teenaged Webster Colcord and starring his friends and family. Featuring homemade special effects that would make Rick Baker or Tom Savini smile, the nuclear fallout has dissipated as our titular anti-hero cruises around in his tricked-out school bus, tossing chemical bombs out the window, terrorizing anyone (or anything — poor dog) unfortunate enough to cross his path . . .
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The self-titled debut from Sweden’s Dina Ögon ... a work of singular and arresting fantasia pop, where vocalist Anna Ahnlund’s dreamy chanteuse vocals reign over a groove-laden collection dancing between bossa nova, lounge, r&b, and smooth jazz . . .
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Orlando brothers Andy and Edwin White—a warm, enveloping duo known as Tonstartssbandht—return with Petunia, their follow-up to 2017’s Sorcerer, a record we dug for its dynamic and invigorated orbit of jammy neo-psych-folk, cloud-bound vocal harmonies, and spacey ambient soundscapes. This new work is a bit more song-oriented than its predecessor—it has four more tracks and one that even clocks in at well under two-minutes—but Tonstartssbandht still take their time letting their dreamy melodies and flowery, psychedelic riffs unfurl . . .
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On Vanity, Jason Martin's Starflyer 59 project incorporates touches from its rich back catalog and charts all new territory. It's a deeply felt guitar pop gem . . .
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The Path of the Clouds is a bit of a departure, coming after Nadler relocated from Boston to Nashville. Hemmed in by quarantine in an unfamiliar city, Nadler rekindled a childhood fascination for the stories in Unsolved Mysteries. She was transfixed, in particular, by the tales about people who disappeared suddenly and were never heard from again—the wilderness explorers Bessie and Glen Hyde, the hijacker D.B. Cooper, the prisoners who made the only successful escape from Alcatraz. She began obsessively rewatching episodes about these stories, taking notes and working the details into a collection of songs . . .
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