Enter Nick Millevoi. The guitarist's Moon Pulses rises over the horizon of cosmic guitar, breathing life from a new direction. The six-part suite that encompasses the LP offers a stoic take on the free-form headyness that proliferates the current world of guitar records . . .
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Radio Free Aquarium Drunkard returns to the Dublab airwaves for another round of sound. New Happy Gathering kicks things off with an hour of folk, chamber atmospheres, and downtown jazz + Doom & Gloom From The Tomb will jam some new favorites from 2024 — motorik workouts, early morning ambient and dreamy drones. Sunday, 4-6pm PT . . .
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somesurprises began modestly, but with the band’s latest record, the excellent Perseids, they’ve moved into a positively widescreen space. It’s a dreamy sound, occasionally reminiscent of such legends as Stereolab, Grouper, Mazzy Star or Yo La Tengo. But it’s not just dreamy. Beneath the gorgeous drones and sweet motorik pop-rock, there are plenty of sharp edges, both sonically and lyrically . . .
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This second round of Ghosted rides a sinuous pulse, a tricky pop of rhythm playing out over multi-toned drumheads, a subtle nod of bass, a flame-like fluctuation of tone and feedback. Oren Ambarchi who more typically works in the studio, layering texture on texture in post-production, here again sinks into a live, intuitive groove, reacting on the fly to long-time compatriots Johan Berthling and Andreas Werliin . . .
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Sun is shining. The latest installment in Michael Crow Taylor’s dank reggae mix series, Sufferer’s Time, winds a path through deep devotionals, primo dub and loping, cosmic love jams. Mixed at Dad’s Bar and Grill, Durham, NC. You can find Taylor onstage with Hiss Golden Messenger, and in the studio with Hiss, Revelators Sound System and many other friends . . .
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Equal parts João Gilberto tribute and freshly inspired arrangements, this is a fulfilling experiment reaching cinematic depths. A restless arranger and film composer in Japan, the prolific Giro Ito Ito is perhaps most inventive when playing homage to the Brazilian musicians that perennially influence his compositions. Sean O'Hagan describes it best: "The harmony he manages to craft is post-Jobim and Gilberto but collides with European and Japanese experimentation to create a sound unique to Goro . . .
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The singular and enigmatic singer-songwriter Judee Sill has been gone nearly 45 years, yet her work is in a renaissance. Over the past twenty years, there has been a growing fascination in both Sill’s music and story, with a series of reissues, posthumous releases, and retrospectives opening her work to a contemporary audience. Now a new documentary on her life and career, Lost Angel: The Genius of Judee Sill . . .
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On The Great Bailout, Moor Mother transmuting jazz, noise, rock, folk, gospel, classical music—melting down genres in a poetic churn. Moor Mother plays history and time like a science fiction story, bending temporal moments in a psychedelic flurry. This conversation flows in similar way. Join us to jump through timelines, ponder the Mandela Effect, and untangle histories with Moor Mother on Transmissions . . .
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March 30, 1993. Paris, France. Following the release of their studio debut, Peng, and eight months before the release of the, now classic, Transient Random-Noise Bursts With Announcements, Stereolab touched down in the 16th arrondissement to record a Black Session at La Maison de la Radio. Sublime Silver Apples cover, naturally . . .
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Agitation Free emerged in the early 1970s in the same Berlin circles as electronic experimentalists like Tangerine Dream and Ash Ra Tempel. But this killer 1974 concert from Cologne reveals them in their true form, a first-rate psychedelic jam band influenced by open-ended American boogie outfits like the Allmans and the Grateful Dead . . .
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On July 2, 1996, Neil Young released his 22nd album, Broken Arrow. Recorded with his long-time running mates Crazy Horse, it was also the first record that Young had released since the death of David Briggs the previous fall. To break down all things Broken Arrow, two Neil Young devotees—Joel Berk and Scott Bunn—are here to answer the question: what is the purpose of Broken Arrow . . .
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Television have two well-known live albums to their name, both taped in 1978 — the classic ROIR release The Blow-Up, which came out in the early 1980s, and the incendiary Live at the Old Waldorf, emerging about 20 years later. Live at the Academy is much more under the radar; originally sold in unassuming CDR format at merch tables in the 2000s, it’s been available only fleetingly since on various streaming services. This year’s Record Store Day, however, sees the performance getting a well-deserved double LP reissue. It’s a necessary addition to Television’s relatively . . .
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It is still only April, but Rosali's Merge debut Bite Down already has the makings of classic summer album. Bursting with singalong choruses, big barroom rave-ups and bleary confessions of both love and doubt, this is one that everyone can find a way into . . .
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Sean O'Hagan's High Llamas project has always followed its creator's whims. But with Hey Panda, the Llamas embark on their most unexpected journey yet, straight into the heart of the auto-tuned, hyper pop fixated social media feed. Simi Sohota of Healing Potpourri joins O'Hagan to unpack the new album, consider the spiritual life of pianos, and reflect on the way the '90s changed how musicians approach—and shatter—the concept of genre . . .
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Diamond Jubilee feels like a throwback to a different, weirder, cooler, better era in independent music. An era where a record such as this one — a record not available on streaming services, that can only be listened to on YouTube and via WAV files available for purchase on the artist’s website, and which was birthed into the world with no advanced single or press, that eschewed the long and laborious album rollout, and so felt like an artifact from space crash landed onto Earth — wasn’t so tragically uncommon . . .
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