It has been a decade since the release of Lift To Experience's The Texas-Jerusalem Crossroads. Fast forward to 2011. At seven songs in sixty minutes, the long awaited solo debut of Lift's Josh T. Pearson is a welcome dark and desolate take on contemporary folk music entitled Last Of . . .
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Here we have the short-lived, yet excellent, Dillard & Clark covering the Beatles "Don't Let Me Down." I originally had planned to run this the same week in December that I shared Charlotte Dada's Ghanese cover of the . . .
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Our pal Jessica, from Rotter And Friends designs, just shared this Link Wray UK television performance clip with us from 1975. Smokin. Rotter's own Link Wray t-shirt has been on my wish list since the design came out last year (my size sold out), and it looks like they now have a commemorative Beefheart design that has been making the rounds. Great stuff, great people.
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In reference to the LA Burnout comps last week, I was reminded of this Nancy Sinatra nugget found on the reissue of 1967's Country, My Way. Exercising a time tested theme in song (i.e., the whole leaving home to 'make it' in Los Angeles, thang), Sinatra's take here is a very worthy addition to the lineage. As with the best of her stuff from this era (often with Hazlewood), the idiosyncratic instrumentation really pays off . . .
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I've been a real freak for Bowie's Scary Monsters over the past year. Compounding this near obsession was discovering the collection Fresh from Divorce: The Scary Monsters Chronicles five or so months back. At 19 tracks the (very) grey-market bootleg is described by its compiler as a selection of "relevant documents surrounding the creation of the album including alternate versions . . .
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Our weekly two hour show on SIRIUS/XMU, channel 26 (SIRIUS), and channel 43 (XM), can now be heard twice, every Friday - Noon EST with an encore broadcast at Midnight EST.
SIRIUS 186: Jean Michel Bernard - Generique Stephane ++ Kurt Vile - He's Alright ++ Jim Schoenfeld - Before ++ Lower Dens - A Dog's Dick ++ Mazzy Star - Fade Into You ++ Deerhunter - Dr. Glass (Daytrotter Session) ++ Jana Hunter - A Bright-Ass Light ++ Akron/Family - Gone Beyond ++ Frankel - Know (Nick Drake) ++ The Love . . .
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Earlier today Matador Records released the first taste from Thurston Moore’s upcoming (third) solo album, Demolished Thoughts. Produced by Beck, "Benediction" easily falls in line with the more subdued tone of Moore's last solo outing, 2007's Trees In The Academy. Look for it May 24th.
MP3: Thurston Moore :: Benediction
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Sludging through the ever-expanding assortment of year-end lists feels like a second job by mid-December. Having said that, I've never not come away with at least a few new favorites that I either missed entirely or blew off over the previous twelve months. Case in point, last year I was rewarded with Lower Dens' LP Twin-Hand Movement; an album that has been in constant rotation since December.
Vaguely aware . . .
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Any Mutantes record is a mind-blower and this one makes an unforgettable introduction. The music and voice of Os Mutantes transcends any language barrier such that even the most literary of music enthusiasts can still fall deep for these dazzling sounds. David Byrne, who reissued an anthology of the Mutants on his Luaka Bop label, seems to back this sentiment up in the fantastic liner notes to Stop Making Sense: "Singing is a trick to get people to listen to music for longer than they would ordinarily." One phrase . . .
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The catastrophe, emotion and bleak tones that permeated Belong’s amazing debut October Language places the listener in a world that may be difficult to deal with. While the sounds are familiar and may come from recognizable influences it’s the sculpting of that particular sound that conjures uneasy feelings of loss and isolation, and over time I’ve found that it also leaves one in an increasingly vulnerable state of mind. These ideas continue to surface on the duo’s follow-up release become a member or log in.
(Album artwork: Does it indeed affect our listening experience, and if so, how? Scratch the Surface takes a look at particularly interesting and/or exceptional cover art choices.)
There is a temptation to romanticize: a photograph of a barren flagpole; a pink, painted-on banner waving from the apex; a hazy blue summer sky behind; a simple, black four-letter word in block letters in the upper left corner. It seems like the simplistic cover of some boiling manifesto, of some great divination of the future. The solitary word . . .
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Two decades after its original release Mercyland's sole full-length album, No Feet On The Cowling, is finally seeing a proper reissue. Based in Athens, GA, comprised of David Barbe (vocals/bass), Andrew Donaldson (vocals/guitar) and Joel Suttles (drums), the seminal southern blast of post-punk that was Mercyland's run lasted from 1985-1991. Below I catch up with founder, David Barbe, who has since gone on to produce a number of records likely found in your collection, act as 1/3 of Bob Mould's Sugar and co-found Chase park Transduction studios. Barbe is now . . .
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Welcome to Kurt Vile's best record yet. Perhaps your favorite song is culled from one of his earlier efforts; fair enough, but there is no denying that Smoke Ring For My Halo, his fourth LP, is the defining sum total of Vile's craft. In short, he consistently nails it on the whole as
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One thing about doing a show on satellite radio is that you can pull shit like airing "Sister Ray" in its entirety. While not my favorite Velvets boot, the 1967 Live At The Gymnasium set (that surfaced a few years ago) is not without merit, specifically as it's the first recorded appearance of said "Sister Ray" and features the grimy "I'm Not A Young Man Anymore," an excellent
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Sound architect and Lysergic Acid pioneer Augustus “Bear’” Owsley Stanley died this week in his adopted home of Australia. The sixties counterculture fixture (see: Ken Kesey, the Grateful Dead, the Acid Tests, Tom Wolfe, etc.) and fictional inspiration for Steely Dan's "Kid Charlemagne" reportedly produced upwards of 1.25 million doses of LSD between 1965 and 1967. While it was his doses that made . . .
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