Tonight and on-demand. An alternate history of popular music if, say, Yaphet Koto, The Electric Piano Underground and Tim Maia reigned supreme . . .
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Dave Harrington is a modern-day guitar hero in an era that increasingly does not seem to care about such figures. His credits should be legendary, but as it stands, he plays weekly gigs in New York City and carries an unassuming personality. His latest record, Pure Imagination, No Country, should change that, but it probably won’t. Anything outside of another become a member or log in.
Jessica
Pratt doesn’t have many contemporaries. Her nylon-string reveries exist in a
precarious space between the then and now, and she seems destined to float as a
cult figure for generations—but just the same, she’s right here today, busy and
appreciated. At this point in time, there’s nothing cult about her.
Rather than just the stylistic touchstones—Leonard Cohen, Karen Dalton, Marianne Faithfull—that can be felt in her three albums, it’s almost more prudent to understand Pratt through the spiritual characters of her world: The mystique of Brian Jones. The . . .
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Nina Simone, live at the Village Gate in Manhattan’s Greenwich Village, 1961, sashaying between folk, classical, and jazz . . .
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Following the 2007 singles compilation Weirdo Rippers, No Age returned the following year with the release of Nouns. Both the media and the masses took note, and for good reason. As an album, Nouns endures both as a sonic manifesto, and as a time-capsule of the mid-late 00s underground; specifically the DTLA noise-punk scene. Over the past decade, the duo have released three more albums; works that have explored and expanded upon the initial framework laid out within Nouns 30 minute runtime. And while less . . .
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"I'm sitting here in Carrboro, North Carolina." This is the voice of Alejandro Escovedo. On the day we're speaking, I'm hoping to catch his performance that night at the Cat's Cradle in Carrboro, but I'm also dealing with the possibility of ice on the roads and about an hour's drive each way. By the end of that night, I'd be shaking my head listening to him and his and current bandmates, Don Antonio, rework his 2012 song "Sally Was a Cop" into something transcendentally different from its original studio version, and I . . .
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Jimmy Jukebox – Motor Boat (AD Rive Gauche edit) ++ Loak Klang – Loak Klang ++ Shintaro Sakamoto – Love If Possible ++ Ronald Langestraat – I’m Ready For Dancing ++ Shintaro Sakamoto – Another Planet ++ Julien Gasc – Luke Howard . . .
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Swan’s Chamber: the new project from Georgia based multi-instrumentalist & songwriter Taylor Ross. His new four-song suite, via the Leaving Records imprint, is a solo work for guitar, recorder, and piano, employing a classical romanticism and playful pop humor that both artfully belies, and subtly projects its unfolding dramas . . .
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“I think of Lost Time Behind the Moon as Scott’s masterpiece, because everything I know about him is in these songs, the groove and the wonder.” — MC Taylor (Hiss Golden Messenger)
Scott Hirsch’s HGM bandmate hits the nail on the head regarding the Ojai-based singer/songwriter's new solo album, the follow-up to his 2016 slow-groover, Blue Rider Songs. Hirsch is, as forbearer Doug Sahm was and always will be, about finding the groove. On his new long player, Hirsch carries the musical and spiritual ethos of Sahm . . .
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Over the past two decades, The Moore Brothers have quietly built up an unassailable discography. Greg and Thom Moore haven’t quite broken through in a major way, but they’ve picked up some high-profile fans along the way; Pavement’s Spiral Stairs released their 2001 debut on his Amazing Grease label. Joanna Newsom brought them onboard her 2009 opus Have One On Me and subsequent tour (and she returned the favor by contributing harp to the Brothers’ Aptos LP).
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Revisiting David Byrne's score to "The Catherine Wheel" (1981). Like Remain In Light and Bush of Ghosts, Byrne rides a similar aesthetic groove, mining funk, African poly-rhythms, processed vocals and the avant-garde, all underscored by a potent sense of urgency . . .
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It's Friday morning and this shit is funky. Ronald Langestraat: Searching. 27-minute eccentric fusion / funk / lounge jewel. Unearthed and released last November -- 34 years after Langestraat cut it to a four-track tape recorder in his living room . . .
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In the final weeks of 2018, Beach Boys fans were treated to something unexpected: a rare copyright term limit, digital-only, release of three collections from their vaults. The emancipated material includes the Friends Sessions, the live performances that document Beach Boys On Tour. and I Can Hear Music: The 20/20 Sessions.
While all possess their individual highlights, it’s this final volume that particularly stands out . . .
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Breeze along to one of the earliest live recordings of JJ Cale out there. This Pacific High Recorders gig (broadcast on the Bay Area’s KSAN-FM) features JJ and band playing a deliciously laid back set a few months prior to the release of the singer-songwriter-guitarist’s classic debut LP, Naturally . . .
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On True North, Michal Chapman's sounds are sparse but deep. And there's a similar quality to his photos from the early '60s. There's a dark beauty at work in them, and a curious quality that makes them—like his masterful songs—feel alive. "I only ever worked in black and white," Chapman says. "I have no interest in color. I think it’s one step away from reality . . .
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