Using homemade drum machines and modular synths, Berlin-based Cavern of Anti-Matter take their krautronica to new dimensions on their third studio album. On Hormone Lemonade, Stereolab founder Tim Gane generates pulsating rhythms and freeform, shimmering psychedelia with a mastery of processing the 1970s electronic hardware used to record the album's mega dense layers and textures. Released on their own Duophonic label, Cavern of Anti-Matter heighten their analog electronic abstraction with their most refined and engaging collection to date.
MC Taylor's family love and spirit is evident in his songwriting, the bond between his band, and his presence within his community of Durham, NC. Those qualities are unmistakable on the latest single released as he joined his Richmond, VA creative cohorts at Spacebomb Records to release a new track and dub version in support of Everytown, the nonprofit advocating for gun control to build safer communities. After each unfathomable gun-related tragedy taking the lives of our nation's youth, the call for action grows louder bringing together a stronger movement to protect our kids, our teachers, and our communities from the needless violent acts. Hiss Golden Messenger's single "Passing Clouds" cries out "It's morning, I'm alive now" in a heralding call for those in earshot to act on the signs and defy the thunder to fortify our next generation of artists, creators, and thinkers from an early, avoidable demise. Raised by two public school teachers, raising two public school attending children, and married to a public school teacher, Taylor’s advocacy resonates with deep purpose to ensure the safety and sanctity of this country’s schools and communities.
By purchasing the new single recorded with members of the Spacebomb Records crew, proceeds will go Everytown to neutralize Washington gun lobbies and the "leaders" who refuse to take common-sense steps to save lives. Donate what you can. Help end the thunder.
Skipping class to smoke and listen to Alice Cooper, Steve Brudniak and Gerry Diaz weren't unlike many other teenagers in mid-1970s Texas. They'd go home after school and bang on their parent's piano and jam with a cheap electric guitar. Eventually, their shoestring budget afforded them a Vox Jaguar organ previously owned and shredded-on by Fever Tree keyboardist Rob Landes. Perhaps it was the juju left on the instrument by the Houston 60s psychedelic/garage rock icon, perhaps it was the duo harvesting their creative flora from years summoning psychedelic and blues energy inside the garages of their family homes. Whatever it was, their brief recording session at the local community college produced a spectacularly distorted self-titled record of unglued and organic scuzzy psychedelia.
The seemingly bottomless Sun Ra archive bears fruit once again with Of Abstract Dreams, a collection of unreleased radio sessions thought to have been recorded at the WXPN FM radio studios in Philadelphia between '74 and '75. The Yuri Gagarin of cosmic jazz replaces bass lines with battering piano swipes in these tracks amassed in the University of Pennsylvania student-run college radio station. The Arkestra explore their emblematic funk-fusion soundscapes in a raw, relaxed dimension.
Noriko Miyamoto- My Life
Hiroshi Sato- Evening Shadows
Junko Ohashi- I Love You So
Tomoko Aran- I'm In Love
Shigeo Sekito- The World II
Hiroshi Sato- I Can't Wait
Haruomi Hosono- Shimendoka
Piper- Summer Breeze
It's 1976 in Osaka. Isao Suzuki's name appears in the liner notes on records by Thelonius Monk, Charles Mingus, Ella Fitzgerald. He's returned to Japan from New York City where he played with Kenny Burrell and has started his own ensemble, the Sextet. His instrumentation has expanded to cello and piccolo bass from his origins on the jazz double-bass. The result is Ako's Dream.
Held on Willie Nelson's family ranch, Luck Reunion returned with its intimate, down-home congregation of indie, folk, and country artists performing on small stages throughout the day on the rustic Luck, Texas property. In a slow-living, Old West atmosphere, artists like Kurt Vile, Hiss Golden Messenger, Kevin Morby, Cut Worms, and ceremoniously, Willie Nelson, performed in the buildings of the makeshift town preserved from the 1980s for the film adaptation of "Red Headed Stranger."
All photos by Angela Betancourt
Recorded in the West Texas desert wilderness, Dungen & Woods collaborated at Marfa Recording Studios the week before last year's Marfa Myths festival to produce Myths 003. The third edition of releases inspired and cultivated by Marfa Myths and Mexican Summer, 003 brings together label artists Dungen with kindred spirit musicians in Woods to provide a sonic souvenir of the imaginative sensation magnified by the Trans-Pecos landscape.
Dungen's Gustav Ejstes and Reine Fiske and Woods' Jeremy Earl and Jarvis Taveniere were the musicians in residence creating and connecting the Swedish prog-psych sounds with jammy jazz-folk arrangements in an agglomeration that's unmistakably the product of the two groups.
Individual daily tickets are still available for Marfa Myths 2018 featuring Amen Dunes, Jessica Pratt, Ryley Walker, The Weather Station and more. Purchase the previous Myths releases with Conan Mockasin/Devonté Hynes (001) and Ariel Pink/Weyes Blood (002) available from Mexican Summer.
Japanese electone player Shigeo Sekito released four volumes of his Special Sound Series easy listening jazz-funk records between 1975 and 1977. On his second, Vol. 2, Sekito uses his Yamaha organ to project a body-melting aura that's been most notably referenced by Mac Demarco on his 2014 track "Chamber of Reflection."
Sink into oblivion with the full stream below.
From northeastern Brazil, Camarão was an accordionist whose cumbia and Afrofunk instrumentals belonged on the big screen. At least the premiere archivists of Analog Africa believe so. Last month, the German label released a compilation of tracks from the composer from his 60s and 70s catalog that belonged in some spaghetti Western that never was. The genre heard on the record is called forró which combines the Cajun sounds of a dry-tuned accordion with a triangle and zabumba bass drum often fueled by cachaça, the regional spirit of fermented sugarcane. Analog Africa's release includes a 12-page booklet of pictures and a 16-track soundtrack for a Brazilian Western film you'll have to envision yourself.
The 1981 Danish ambient folk relic by Suzanne Menzel, Goodbyes and Beginnings, blended soft and airy 60s-inspired folk ballads with the ethereal new-age instrumentals of futuristic producer, Klaus Schønning. The intersection of folk music and early 80s synth boogie is witnessed on this coveted rarity that reappears on vinyl for the first time ever via Frederiksberg Records.
Shot on Fujifilm Superia X-TRA 400
David Morris' latest record as Red River Dialect finds grace and liberation for merciless personal sorrow through primitive, spiritual coherency embedded within the album's ornate Celtic folk-rock.
The inspiration behind the new record, Broken Stay Open Sky, was rooted from time spent touring the UK with Joan Shelley. What was so impactful about your time with Joan Shelley on that tour? Was it watching her and her band perform each night or interactions off the stage during travel that stimulated you to write?
Well, being invited to be the tour support for someone whose songwriting you greatly esteem, it gives you a good feeling. Also, as I played solo on that tour, so I was in the luxurious position of just getting in the car and going on a ten day voyage all around the UK playing to the kind of people who come to Joan Shelley shows. I hadn’t been on an adventure for a while. It was a chance to shake the dust off and go on a journey of unexpected delights, something that doesn’t come up all that often for me. So it was a combination of all the aspects of the journey, including their relentless mockery of my search for vegan Cornish pasties at road stops. I also happen to think Nathan Salsburg, who plays with Joan, is one of the finest guitar players on the planet. Word is there is a new album coming from him sometime not too far away… On that tour he joined me for a couple of songs on most nights.
Spirituality guided much of your focus for the record. Have you always been a spiritual person or had you recently felt a penchant for bringing you to the studies? Was there a certain religion of focus or a more generalized concept of spirituality?
Your question teases out some interesting space, somewhere between a definite idea of religion and a generalized concept of spirituality. There’s the whole “spiritual but not religious” notion, and then there is the suspicion that many people hold towards a sort of supermarket, or “pick and mix” approach to spirituality. I have held those views at times, and also had a good go at the supermarket approach. Without wanting to bore everyone to tears, I have just finished five years of academic study of religions at a University in London, and one of the most exciting insights I was tuned onto was that the concept of religions in the plural is a very recent one. Prior to the reformation “religion”, or “religio,” just meant Christianity. For those interested, or aggravated, here is a great essay on that by a guy called Jonathan Z Smith, who died recently but, in the words of one of my teachers, looked a lot like Santa on LSD. So once we had the concept of “religion” as being a cultural/anthropological category it really changed how European colonialists encountered the wisdom traditions of the people they were thieving from.
Personally, I don’t hold "spiritual" to refer to things otherwordly, supernatural, or pure. I relate with the Tibetan Buddhist notion of sacred world, that if through meditation and study we develop our capacity to experience the present, as it is, without slathering our preconceptions all over the place, that a quality of sacredness starts to infuse our experience, and that compassion arises spontaneously, too. Not just in some holy, mood-music way, looking out over the ocean from a mystic mountain, but in situations that involve down to earth difficulty and confusion, like work, sex and money (which is also the title of a great book by a Tibetan meditation master).
To backtrack to the theory side of things above, the word “Buddhism” doesn’t exist before the 19th century, and was coined in Europe. It’s not that there weren’t a great many people committed or connecting to the teachings of the Buddha, but the “ism” changes things. In Japan they had no word for “religion” before the late 19th century, they only invented one, “shukyo,” in order to translate a trade agreement with the USA. Some people argue that this then changed the way Japanese people identified, as being of one religion or another, whereas in the past one might not seen such discontinuity or contradiction in attending both Shinto and Buddhist shrines (a distinction which is in itself not necessarily clear).
The first single from the new record, "Kukkuripa," shares the name with a character from Buddhist studies. Essentially, the story of Kukkuripa is one of realization and abstention of temptation. What part of the Kukkuripa message spoke to you during the writing of the record?
Well I personally hold a strong commitment towards non-human animals, so the fact that Kukkuripa took his commitment to a supposedly lesser non-human over some partying in a realm of bliss and low-karma indulgence means something to me. During the aforementioned tour with Joan Shelley and her band I found a book in a charity shop in York called ‘Marpa the Translator’ and it was in this book that I read about Kukkuripa. It also connected with a personal story told to me during that tour, about a dog that meant a lot to someone but who had passed. That song is two jokes told badly, one is my own and the other is a funny story by someone who was on that tour. The middle section, about Kukkuripa, is a declaration of friendship.
To record the new material, you expanded beyond the solo acoustic fabric and introduced multi-instrumentation and drums to arrive at a bigger and more electric sound. What prompted this expansion and was this bigger sound in mind while you were writing the songs?
Our sound is perhaps dilating, because our album before last, called awellupontheway also sounds big, and had drums. Yes, the bigger sound was in my mind, and we were very lucky to find our drummer Kiran. I can’t remember if I have told this story before, but we had been looking for a drummer for a while but not having much luck. I’m not really very plugged into any music scenes in London, and a couple of times I considered placing a classified ad somewhere: “drummer wanted, no money in it” etc. Then in summer 2016 we were due to have a sort of practice, but two of the bandmates were hungover after a birthday party, and had stayed at our friends house. I was waiting around for two hours in a park and got pretty mardy and called it off. But the other two, mentioning this to others where they had woken up, ended up playing some of our music to Kiran, who mentioned he was a drummer. They then sort of auditioned him on some pots and pans whilst they played bass and fiddle. They sent a text saying “we think we’ve found our drummer.” Here’s to hangovers.
Traditionally, folk music has had a link to the land and the culture of a particular place. How has your time in Cornwall impacted your songwriting? Are you influenced by nature for your songwriting or more by human emotion?
Having left Cornwall over 6 years ago, I think at this point there are two places: the one that appears in my dreams and nostalgia and the one I visit regularly. Sometimes the distance between them can be shocking, the real place changes and refuses to adhere to my more romantic delusions. But once I get over that, the raw power of the place always cuts through to a deep part of me, and I will always been thinking of returning. I think maybe that duality was there when I lived there too. I don’t think I can separate out those influences you mention, not enough to speak about them coherently. I think that sometimes I see landscapes which somehow connect me closer, or help me to understand, certain emotions, and there are emotions that have helped me to see and connect to my place in the landscape also. These moments where the inner and outer have some kind of relationship, not necessarily a sweet harmony, I aspire to represent or at least acknowledge these in my songwriting.
As the brush delicately painted the mural advertising the lineup for this summer's Pitchfork Music Festival, "This Is Not This Heat" slowly appeared in black on the wall of The Violet Hour in Chicago.
This Heat was an experimental U.K. group whose avant-garde recordings were the pier foundation for noise, ambient, and post-rock records for the next several decades to come. Forty-some years after their highly influential self-titled debut, the group has come back together as This Is Not This Heat after a long hiatus enlisting artists such as Thurston Moore and Alexis Taylor to fill the void vacated by the loss of founding member, Gareth Williams.
The band's debut self-titled record, sometimes listed as Blue and Yellow, airs out with long, lo-fi tape loop feedbacks and oscillating sonic obscurity that's broken up by unrelenting abrasive chugs of noisey riffs captured using vanguard multi-microphone recording techniques inside an abandoned industrial meat storage facility in 1970s London. Two years later, This Heat released their second record, Deceit, that would become their last. The more palatable album from 1981 would essentially be the starting whistle for a post-punk genre rejecting the newfound commercial success of English punk and new wave of the day.
So, after 40 years and some revitalizing reissues, surviving members Charles Bullen and Charles Hayward resuscitate the insurmountable heftiness of their early works through the same improvisation and bleak sonic incantation cultivated in that airless industrial facility known as Cold Storage. Though it's not This Heat, This Is Not This Heat undoubtedly possess the voltaic avant-garde peculiarity of their former figure with a newfangled, matured sensibility and juncture with the contemporary artists enlightened by the band's innovative records.
One of the most rare Malian records received its first reissue from West African archivists Kindred Spirits. Le Mystère Jazz de Tombouctou came to fruition in part by a 1977 initiative by the Malian government to fund a series of LPs dedicated to preserving the nation's rich cultural history of traditional orchestra and jazz music. The record captures a time when the electric guitar was becoming a vital instrument for traditional musicians in the region. The rhythms of this record continue to infiltrate psychedelic, jazz, and soul arrangements in contemporary works extending well beyond the borders of République du Mali.
Touring his newest record, Aaron Maine stopped in San Francisco to perform tracks from The House, his third as Porches out now on Domino. The show reflected the advancement in Maine's songwriting and arrangement and exposed a renewed comfort and self-discovery through his sensual synth-pop delivery. Porches' tour continues through North America and Europe with stops at SXSW next week. Find the rest of the dates here.
All photos by Ruchita Lalmalani
Polished from its original condition from last year's Alien Sunset EP, Max Clarke regifts his dandy lo-fi standout "Don't Want to Say Good-bye" for his first full-length as Cut Worms titled Hollow Ground that's out on May 4th via Jagjaguwar. To hold you over until the Jonathan Rado-produced record gets dumped into the world, Clarke's bandmate John Andrews has a hand-painted animation video for the album's first single.
This Thursday, Savannah, Georgia welcomes a heap of artistry to the historic riverfront downtown district. For its eighth year, Savannah Stopover Music Festival is presenting its most impressive and far-reaching lineup to date. Savannah's early-American architecture and cobblestone streets will host scads of exceptional talent this weekend including Nikki Lane, The Cave Singers, Michael Nau, Colter Wall, and three days worth of more tunes thou shalt not miss.
Find some of the shows we're most excited for below. We've also gone ahead and prepared a playlist to soundtrack the ride to Savannah this weekend with some of our favorite lineup artists.
The Cave Singers // Thursday March 8, 2018 11:30pm // The Jinx
Shopping // Thursday/Friday March 9, 2018 12:00am // El-Rocko Lounge
Michael Nau // Friday March 9, 2018 7:00pm // The Jinx
Caroline Rose // Friday March 9, 2018 9:00pm // Ships of the Sea - North Garden
Nikki Lane // Friday March 9, 2018 10:00pm // Ships of the Sea - North Garden
Yonatan Gat // Friday March 9, 2018 11:00pm // El-Rocko Lounge
Combo Chimbita // Saturday March 10, 2018 12:00am // El-Rocko Lounge
Becca Mancari // Saturday March 10, 2018 12:30pm // The Grey
The Nude Party // Saturday March 10, 2018 6:00pm // El-Rocko Lounge
Colter Wall // Saturday March 10, 2018 7:00pm // Trinity United Church
Crumb // Saturday March 10, 2018 8:30pm // Barrelhouse South
Acid Dad // Saturday March 10, 2018 10:00pm // The Jinx
Vundabar // Saturday March 10, 2018 10:30pm // Barrelhouse South
Bat Fangs // Saturday March 10, 2018 11:00pm // The Jinx
Pick up tickets to the 8th Savannah Stopover Music Festival happening March 8-10 in Savannah, Georgia.
With its classic-looking album artwork, it's easy to imagine Ernie Hawks' Scorpio Man inconspicuously resting in a dusty dollar bin of jazz records waiting for some ambitious cratedigger to rediscover its allure, lost by an untimely release, financial blunder, or whatever lands so many budding artists on the back pages of history. Though the contents of this release would make for a lost-and-found holy grail, this record's evening-glow soul jazz is a product of 2018, not 1971, despite what your senses tell you.
Ernie Hawks is Helsinki-based flutist and trombonist inspired by exploitation soundtracks and library records of the past. He's backed by The Soul Investigators who bring classic 45 rpm groove from Finland to act as the easel for Hawks' dynamic instrumentation. I'm hearing Cymande, Roy Ayers, and Les McCann and I can't get enough of the funk.
Scorpio Man is available March 23 on Timmion Records.