#jason gerycz

[dustedmagazine]

Gerycz/Powers/Rolin — Activator (12XU)

Activator is the third album by percussionist Jason Gerycz, hammered dulcimer-player Jen Powers, and guitarist Matthew J. Rolin. Powers and Rolin are partners as well as collaborators, and often play in entirely improvised duo settings. There is no shortage of underground free folk interplay here. There are also, as they describe them, “song-based structures,” in which melodic themes abound.

“Entrance” begins the recording with a rootsy riff from Rolin with rolled chords from Powers, gradually supplanted by metrically unstable and textural playing from Gerycz. Rolin soon incorporates raga-inflected scales and Gerycz follows with kit-fuls of fills while Powers accentuates upper partials. A gradual slowdown leads into arpeggios and repeated percussion attacks. The original riff returns, but now is savored in the new tempo and then distressed with repeating dissonant intervals from both Rolin and Powers. Bends and harmonics populate the piece’s coda.

“Sun Rays” is a short-form piece filled with chugging beats and a hummable tune. Partway through, it erupts into repeated notes and thunderous drummed punctuations. The balance is a revised version of the opening coruscated with repeated notes. Sometimes, theme-based sections and effusive improvisation are melded into a single piece. The 11-minute long title track is an example of this, with a mid-tempo riff and sustained pitches creating a thematic section that is succeeded by intensely wrought improvisation.

“Ivory '' is a durable long-form piece, probably the best music on Activator. After a melodic guitar intro, repeated intervals from the instrument plus clangorous percussion and thrumming pentatonic patterns glinting on dulcimer blend into a non-Western sounding accumulation. The next section is more placid, pitting a sustained pitch in the percussion against arpeggiations and a dulcimer drone. Then a noise-filled drone is accompanied by overtones and chimes.

The recording closes with “Stasis,” in which a repeated chord progression is treated to placid adornments. Gerycz is a fantastic power drummer, but the hand percussion that he uses here is perfect for the piece’s mood. Its gentle rattling provides a layer of non-metric activity at odds with the solid pulse of the guitar and dulcimer ostinato. “Stasis” ends without fanfare, the music simply stopping at the tail end of a progression. It is an idiosyncratic conclusion, a microcosm of the various twists, turns and surprises on Activator.

Christian Carey

#jason gerycz #jen powers #matthew rolin #activator #12xu #christian carey #albumreview #dusted magazine #improvisation #drone #psychedelia

[sinceileftyoublog]

Tim Kasher Interview: The Ennui of the Days

Photo by Erica Lauren

BY JORDAN MAINZER

Writing about aging isn’t new. It’s certainly not new for Tim Kasher, the frontman of beloved Nebraska indie rock bands Cursive and The Good Life. But on Middling Age (15 Passenger), his recently released solo album, he dives uncomfortably deep into anxieties about getting older, presenting deft perceptions on time and space from sources of all ages. 

Much of Middling Age was written before COVID, but when Kasher found himself sitting around with little to do, he decided to finish it remotely, seeking remote contributions from such heavyweights as Against Me!’s Laura Jane Grace, Jeff Rosenstock, Cloud Nothings’ Jason Gerycz, and even a couple of his Cursive bandmates. The final product is stripped down but still rich with flute, violin, kalimba, and guest vocals of all timbres. None other than Kasher’s 9-year-old niece, Natalie Tetro, introduces the album on “Middling Age Anxiety Prologue”, with a song of her own within it called “Long Days”. Over acoustic strumming and whooshing instrumentation, Tetro waxes on about how “seconds feel like minutes” and “minutes feel like ten minutes”. Sure, I remember how when I was Tetro’s age, the idea of a whole year held more weight and sure seemed longer than it does for me today. But to hear such words out of the voice of someone her age is simultaneously eerie and comforting, a pure expression of the human condition, our collective inability to escape it, and our desire to eventually live with it. It contextualizes the rest of the album. “Is the point of this just to survive?” Kasher asks on “100 Ways To Paint A Bowl Of Limes”. It seems like the answer is yes. “We don’t know where we come from / We don’t know where we belong / We don’t know when we’ll be gone.../But you don’t gotta beat yourself up about it,” Kasher realizes later on. “In the end, we’ll pretend we’re not scared to death,” he sings on the layered “Whisper Your Death Wish”. If you can convince yourself, you’re doing pretty well.

I spoke with Kasher over the phone a few months ago about Middling Age. He detailed the inspirations behind the record’s structure, the truth behind one of its more twisted stories, how he approached the collaborations, and whether he relates to the songs the same way as when he first wrote them. Read our conversation below, edited for length and clarity.

Since I Left You: A lot of Middling Age was written before the pandemic, and the pandemic made you want to finish it. Looking back, why was it the pandemic that made you wanted to revisit songs about themes of aging? Was there a moment or a series of moments that triggered it for you?

Tim Kasher: As far as calling it Middling Age, it’s an overview of what the record kind of looks like to me: the anxieties of getting older. I fear that I’m becoming a broken record about aging on the records I’ve been doing, but it’s an obsession I don’t know how to get out of because we keep getting fuckin’ older and older. Does it pass? For me, it feels like it intensifies. I’m 47. When I look back at what I was writing at 37, I’m like, "Oh yeah, you were worried about getting old.” I’m a decade further into it now. A decade later, I’ll feel the same way, I imagine. How does one stop obsessing about that? I don’t know. As far as writing about stuff like that, it’s been my MO inadvertently all along: writing about what’s processing you at the time.

SILY: You tackle different parts of the life cycle on this record. The voice of your 9-year-old niece bookends it, but throughout it, you talk about death.

TK: I can’t help but want to bookend records. As long as nobody totally shits all over me for continuing to do it, I’ll continue to do it. [laughs] It’s a nice aesthetic. It’s like putting a bow on it. The idea of working with her was born out of my sister proudly sending me the stuff she was working on. I sincerely find she’s quite good at what she’s doing for 9 years old. I further thought that having a very young voice at the top and at the end, at the tails of the album, I can’t say specifically what it says, but it carries a certain amount of weight to it in my head. Her journey’s next. She’s going to go through all this as well.

SILY: There’s also something innately eerie about children singing. There’s an inherent innocence to it, but coupled with the themes of the record, you’re just thinking about that innocence being dashed.

TK: Oddly, and of some interest, I kind of masked her on the song she opens the album with, with a lot of excess digital noise. That song, “Long Days”, is like this sweet little 9-year-old already singing about the ennui of the days and weeks stretching out before her. It’s pretty heavy.

SILY: Those whooshing effects are a motif throughout the record, coming at the beginning and end of some songs. Did you include those to add a semblance of narrative to the album?

TK: Yeah. It definitely was a post-album-writing idea. I’m no stranger to that, too. As far as putting aesthetic bows onto an album, I like to do stuff like that to offer more cohesion, not just for the listener but for me, as well. After an album is finished and I’m putting those final touches on it, I’m spending a lot of time thinking what it’s about. That’s important for me. It’s probably more important for me than it is for anyone else. The more I can try to figure out what the record’s about, the better I am at communicating to the listener and giving them a better shot at reaching understanding and resonance.

SILY: A lot of these songs are centered around your--for lack of a better term--existential crisis. The one that does reference some events that others might be familiar with is “The John Jouberts”, when you sing about naming a band after the Nebraskan serial killer. The woman who came to see your band whose son was a victim and sees the band name spray painted across the drums and became furious: Is that a true story?

TK: It’s not. The first verse--and I guess a lot of what the song comes from--is over a decade ago, I wanted to start a really fun punk rock band with some friends and do it the way I used to do it when I was young. All my musician friends growing up would meet up 2-3 times a week with a 6-pack and fuck around. I don’t really get to do that any more. That’s beside the point. But I really wanted to name the band The John Jouberts, who is the absolute boogeyman from our collective Omaha childhoods for boys my age, because he was kidnapping little boys and murdering them. It’s so deeply rooted in my psyche. It was the type of thing where the news would probably say, “And the city is forever changed.” That was the environment back in ‘82-’83. In short, I thought it would be a cool name because it was subversive and aggressive. I grew out of it the more I thought of it because I thought, “This is kind of fucking rude.” This was a real person who murdered children. I never did start that band or name that band, but the song started with me thinking about that and then an opportunity to let these ideas out. [It’s basically me saying,] “By the way, I’ve been thinking about John Jouberts for the last 40 years.”

SILY: It’s multi-layered. You say in the song that it’s a song for some of the victims, but it’s also a song about different perspectives and legacies. When you sing, “What a shitty thing to say, ‘The good die young,’” it’s almost like you’re shitting on the idea of a legacy being important.

TK: I think that’s an astute observation, and I appreciate that a lot. Working on the anxiety sound pieces in between songs, that’s all part of the process of me understanding what the record’s about. Your impression of that song does help tie in the song, [which] I feel like is a bit of an outlier on the record. I always thought it fit as a flashback or looking back at our childhood, a fitting tangential narrative for thoughts about aging and existentialism.

SILY: It seems like the looks back translate over to the instrumentation, too, like when you reverse the guitars at the end of “100 Ways To Paint A Bowl Of Limes”. You’re again toying with the idea of a linear narrative and mirroring how our minds bounce all over the place.

TK: That’s great. I should have had you write the liner notes.

SILY: What are the voices sampled at the beginning of “Up And Cut Me Loose”?

TK: It’s found footage that I happened to find online. I just wanted to set it in a bar environment. Sometimes, I feel like a song is served better when it has an aural placement to put you there. Now, when I hear it, I imagine it as that somber gentlemen sulking at the bar chatting with whoever listens to him.

SILY: Do you find it eerie and uncanny that the actual person whose voice that is may hear it and recognize themselves?

TK: [laughs] I sincerely have never thought about it. I just think that would be too wild of a coincidence for a small record like this to find those ears.

SILY: Did you have folks like Laura Jane Grace and Jeff Rosenstock in mind when you wrote their arrangements on “Forever Of The Living Dead”?

TK: Everything was very after the fact, in a very casual way. Laura and I had been in a dialogue. She was being very considerate about appreciating the solo stuff I had been doing over the years. I told her, “I’m working on one right now. If you want any involvement, I’d be happy to have you.” With Jeff, I thought a saxophone solo would be the perfect timbre. The concept is embedded in our culture. “Walk on the Wild Side” was one thought I had in thinking of that cool, smooth, easygoing saxophone feel, so I thought, “Who do I know that plays cool saxophone parts?” I entrusted Jeff to it because he has such a great sense of melody and is such a great songwriter. I’m so happy with the way it turned out. Macey Taylor, I think I posted something online about being in the middle of working on this record, and Macey reached out and was like, “Hey man, I’m just sittin’ on my ass in the middle of this pandemic, whatever you want.” Macey is this amazing bass player. “100 Ways To Paint A Bowl Of Limes” was still in an infant stage, and I wasn’t really sure what to do with it, so I thought, “Just do the biggest, busiest bass line you can think of.”

SILY: What’s the inspiration behind the cover art?

TK: It’s an amalgam of a few ideas. The whole cover of the back is one large anonymous avatar, like when you’re on IMDB and they’re asking you to fill out your information and to put a picture in. I’ve been thinking about that blank, anonymous avatar and how anonymous and isolated we’re all feeling on the internet now. We didn’t go that route [for the front], but we wanted to create something that felt like a website, like a Second Life sort of thing but not wanting to lean into it too hard.

SILY: These songs have been around for years at this point. Do you still relate to them the same way today as when you first wrote them?

TK: I still feel the same, but it’s a totally valid question. I’d probably answer it more that because of this pandemic, this is the longest I’ve ever had to sit with a batch of songs. I set them aside multiple times because there was no rush to do anything with them. I felt concerned that, as a result, they would come across as old to me. I’m still struggling with that a little bit, but for the most part, it happens with [albums and movies all the time]. Things just come out late, and you just have to put your thoughts and feelings on hold, and now, here we are talking about it. It’s new now. It’s new for listeners. I’m hoping to attach myself to everybody else who feels like they’re new songs.

SILY: Are you currently working on anything?

TK: I’ve been working on a Cursive record. I started a Patreon over the pandemic to use up my time and find some element of a revenue stream to stay afloat. I’ve been staying busy with all of my own fruitless efforts of writing screenplays and trying to get things made. Same old stuff.

#tim kasher #interviews #15 passenger #jeff rosenstock #jason gerycz #middling age #erica lauren #cursive #the good life #against me! #laura jane grace #cloud nothings #natalie tetro #john jouberts #macey taylor #second life #patreon

[noloveforned]

no love for ned is back on wlur tonight from 8pm until midnight. tune in live if you have a little spare time where we'll be continuing the new winter theme that debuted last week. each show will start off with a song that quotes lyrics from another songs. you can stream last week's show on mixcloud as we start with a very thorough example.

no love for ned on wlur – january 12th, 2024 from 8-10pm

artist // track // album // label built to spill // you were right // keep it like a secret // warner bros. superchunk // everybody dies // everybody dies 7" // merge jj and the a’s // head in a vat // jj and the a’s ep // la vida es un mus discos grrrl gang // cool girl // spunky! // kill rock stars lupo cittá // one-two zero // lupo cittá // 12xu the second wife // sold memories // tourist // potluck foundation private life // keep it movin' // get me outta here cassette // open palm tapes closet straights // brisbane // closet straights // cobra snake necktie wagging // bent // my own private rodeo cassette // wagging industries nancy sinatra // something pretty // keep walkin'- singles, demos and rarities 1965-1978 // light in the attic starry eyes // n-n-n-nervous (acoustic) // starry eyes ep (expanded) // (self-released) the lemonheads // seven out // fear of living 7" // fire c-clamp // a stand still // meander and return // ohio gold bob dylan // girl from the north country // live at budokan on march 1st, 1978 // legacy landing // calmly // subscription series collection three cassette // vast arc hues jason gerycz, jen powers and matthew j. rolin // activator // activator // 12xu grover washington, jr. // joffure // live at the bijou // kudu kiyoshi sugimoto // jones street // our time // nippon eki shola // what is // kaeru // (self-released) mick jenkins featuring jid // smoke break-dance // the patience // rbc kool and the gang // fresh // emergency // de-lite tsha featuring mafro // giving up // capricorn sun // ninja tune devon cole // w.i.t.c.h. // 1-800-got-stress ep // arista self esteem // you forever // prioritise pleasure // fiction macie stewart // neon lights // neon lights digital single // full time hobby puzzles y dragones // el final de mi felicidad // recuerdos de puzzles y dragones // el genio equivocado herr wade featuring mark monnone // monnone alone t-shirt // monnone alone t-shirt ep // (self-released) mo troper // love of my life (so far) // troper sings brion // lame-o benji cossa // pickles // song service // serious business becky and the politicians // go fish // play the early hits of cub cassette // girlsville crabber // dogged by fortune // crabber crabber hey! // jigsaw

#wlur #radio shows

[12xurecs]

#jayson gerycz #jen powers #matthew j rolin #activator #dusted #12XU

[doomandgloomfromthetomb]

Monocot - Direction We Know / Rosali - Chokeweed

Not content to have released one of the best singer-songwriter records of 2021, Rosali Middleman has two more terrific album for us to enjoy this summer, both instrumental. Monocot is a blown-out guitar/drums collab with Jason Gerycz (Cloud Nothings, Gerycz/Powers/Rolins). If Rosali's No Medium recalls Crazy Horse at their most focused, Direction We Know is kinda like her and Gerycz's version of Arc — all billowing feedback and crashing waves of sound. It's an absolute blast. Chokeweed, meanwhile, is billed as "guitar explorations," and indeed, it's a beautifully meandering thing, drifting along on its accord, building upon shimmering tones and uncomplicated structures. Now, all we need from Rosali to cap off a great year is a Long Hots full-length.

#bandcamp monday #rosali

[baltocourtney-blog]

Cloud Nothings - WTMD

You know a mid-afternoon show is going to be very loud when earplugs are offered to the attendees of a Cloud Nothings live Live Lunch performance. And it was.

The Cleveland band was in Baltimore touring behind their recently released album/CD Life Without Sound. The Friday night show at The Ottobar sold out.

The band began by playing the lead single, Modern Act and ripped through about 35 more minutes of music.

Cloud Nothings lead guitarist and band founder Dylan Baldi.

At the halfway mark, mid-afternoon on-air host Sam Gallant interviewed Dylan Baldi. Dylan discussed working with three different producers and why he likes to switch it up. He also talked about playing music in his parents’ basement and releasing it on his own.

The band is currently recording for Washington, D.C.-based indie label Carpark Records. The interview gave the band members a few minutes to rest after a frenetic 15 minutes of fast playing. I don’t know how Dylan’s vocal cords recovered quickly enough for him to have a conversation with Sam. Maybe he drinks quarts of honey before/after the shows or doesn’t talk in the van.

Cloud Nothings (l to r) Chris Brown, Jason Gerycz, TJ Duke, and Dylan Baldi

One of a handful of photos where drummer Jason Gerycz isn’t just a blur of flying arms and drum sticks.

Chris Brown sings harmony while TJ Duke holds down the low end.

Jason Gerycz and Dylan Baldi

Dylan bends notes with one of the effects pedals.

More fuzzy distortion from Dylan.

When I first watched Dylan kneeling down, I figured he was making a quick adjustment. When he stayed on the floor, I realized what he was doing and that I needed to raise my camera and take a photo.

Chris Brown getting ready to distort some notes.

TJ Duke feelin’ it.

Jason somehow didn’t break a drumstick, but the tall microphone did wobble a few times.

Dylan swaying his guitar while singing Modern Act. (Note his feet and the clock are not blurred.)

A packed performance studio audience enjoys a blistering Cloud Nothings performance.

At the end of the interview, Sam said on air, “Please don’t head here because we’re at capacity. The doors are closed.”

A rare moment when Dylan wasn’t moving while singing and playing guitar.

After the show, the band came to the well-stocked merch table to meet and sign items for appreciative fans. Even with swimmer’s ear plugs, my ears were slightly ringing about an hour after the performance. I’ll deal with the consequences of that in about 20 years, but for now, it was worth it.

#cloud nothings #punk rock #dylan baldi #wtmd #rocknroll

[delicasseten]

ντελικασσέτεν 18.05.20 | Touching From A Distance Eve Owen - I Used To Dream In Colour Perfume Genius - Leave Jade Imagine - Coastal Pines Dehd - Loner Public Practice - Underneath Crack Cloud - Ouster Stew Chemtrails - Saint Vitus Merchandise - What I Want Gonjasufi - Candylane Cavern of Anti-Matter - Mannequin Metric Perfume Genius - Jason Modern Studies - Signs of Use Goodbye Bedouin - Down To The Wire Public Practice - Each Other Oozelles - Why Do You Eat People Pottery - Hot Heater Baldi/Gerycz Duo - Spectral Light Whirl Mrs. Piss - Downer Surrounded By Uppers Joy Division - Decades

[dustedmagazine]

Cloud Nothings — Final Summer (Pure Noise)

Photo by Errick Easterday

Cloud Nothings spike a corrosive slurry with sugar, putting bounce and glee into blistering, feedback-addled tone. “Running Through the Campus at Night” lopes through rainbow arcs of feedback, little explosions of percussion going off continually, but its figurative feet hardly touch the ground. It’s a high and a rush, like certain six-milers when everything falls into place, and though it’ll blow you back with volume, you’ll have a smile on your face when it does.

This is Cloud Nothings’ eighth full-length, coming a decade and a half after its first lo-fi bangers. It’s certainly true that the band has navigated several cycles of the rock-is-dead-no-it-isn’t narrative during that period. When Baldi’s music first hit our inboxes, the big comparison was Wavves (he was better), now he swims in the same pool as Wednesday and Ratboys. Over time, his band has offered fuzz pop and noise in various proportions. Early efforts like Turning On and the S-Tfizzed with lo-fi melodic energy, while 2012’s Attack on Memory (recorded with the late, great Steve Albini) buzzed in darker, more dissonant aggression. More recently, Baldi has flirted with free jazz and improvisation, playing a wild sax alongside long-time drummer Jason Gerycz in the Baldi Gerycz Duo.

This journey, though, has led Baldi — alongside Gerycz and bassist Chris Brown — to a place not too far from where they began, where fuzz-crusted romance blares and blusters without obscuring its fetching, hooky charms. Final Summer nails that very Western Mass aesthetic (even though Baldi is from Cleveland).  Think Ovlov, California X, most of the Exploding in Sound roster and, of course, Dinosaur. These are headbangers with a shit-eating grin, and there are no loose threads, not one.

The title track, for instance, looms into view on tense staccato electric picking over a swelling wash of synth sound. It’s edgeless, tempo-less extending from a center rather than moving forward…until it isn’t. About a minute into the cut, a drum beat kicks in, a guitar riff circles, little space noise sparkle of synth drift in, and the chorus begins. It’s like Tangerine Dream transforming itself into Sugar, both parts pure pleasure, wildly different and somehow complementary.

Though Final Summer doesn’t rage as hard as Attack on Memory, in general, it’s got its bludgeoning intervals, most notably sludgy “I’d Get Along.”  “If something would happen, if something would happen with me, I’d get along,” caterwauls Baldi over a frenetic cacophony of drums and guitars. His voice frays as he projects over the mayhem. The singing goes hoarse and metal-voiced in the long finishes, as Gerycz explodes in frantic bursts. It’s loud and corroded but also kind of a bop. That’s a trick that Cloud Nothings have been pulling since the late aughts, but there’s no sign that they’re tired of it. Final Summer is as sharp and exuberant and fierce as anything this band has ever done.

Jennifer Kelly

#cloud nothings #final summer #pure noise #jennifer kelly #albumreview #dusted magazine #punk #rock #lo-fi #dylan baldi

[noloveforned]

we kicked off a new year of no love for ned last week with a new theme. each week this winter we'll be starting off the show with tracks that feature j mascis on guitar and are not his band dinosaur jr. tune into wlur at 8pm tonight for another one or catch up with last week's show below!

no love for ned on wlur – january 14th, 2022 from 8-10pm

artist // track // album // label the lemonheads featuring j mascis // no backbone // the lemonheads // vagrant superchunk // when i laugh // endless summer 7" // merge protex // i'll never stop // strange obsessions // rob's house condor // que jeunesse se passe // singles 2017-2018 // beach impediment die schiefe bahn // pflanze // six song demo 7" ep // emotional response jeffrey lewis // i wanna be vaccinated // 2021 tapes (suddenly it's been too late for a long time) // (self-released) speedy ortiz // kinda blew // the death of speedy ortiz and cop kicker ...forever // carpark * alien nosejob // phone alone // paint it clear // feel it florry // older girlfriend // big fall // 12xu yea-ming and the rumours // i will make you mine // i will make you mine cassette // burger moonlove // all your mysteries // may never happen // concentric circles semi trucks // when there's no ceiling // vs. california // meritorio smudge // no backbone // mo poontang // half a cow yesteryear // angry, bored // under the rug // magic eye singles cassandra jenkins // michelangelo // (an overview on) an overview on phenomenal nature // ba da bing! sally anne morgan // hori hori // cups cassette // thrill jockey satomimagae // kiteki // colloid ep // rvng intl * mira calix // there is always a girl with a secret // absent origin // warp * eli keszler // sunrise // icons (expanded) // luckyme dylan baldi and jason gerycz // moonseed's comma // roadsided and double toothed // cmd masabumi kikuchi quintet // gin-kai // end for the beginning // superfly patrick shiroishi // what happens when people open their hearts // hidemi // american dreams jamire williams featuring mic holden // ugly // but only after you have suffered // international anthem rejjie snow featuring aminé and dana williams // egyptian luvr // dear annie // 300 entertainment blu, med and madlib featuring anderson .paak // the strip // bad neighbor // bang ya head tierra whack // heaven // r&b? ep // interscope nubya garcia // stand with each other (keiyaa remix) // source- we move // concord yullola // is it love or a pyramid scheme // priestess // d36 * david bowie // lucy can’t dance // brilliant adventure, 1992-2001 // parlophone self esteem // moody // prioritise pleasure // fiction * lily konigsberg // sweat forever // lily we need to talk now // wharf cat jennifer o'connor // born at the disco // born at the disco // kiam

* denotes music on wlur’s playlist

#wlur #radio shows

[noloveforned]

no love for ned on wlur – april 15th, 2020 from 4-6pm

artist // track // album // label advance base // come back to us barbara lewis hare krishna beauregard // (bandcamp mp3) // (unreleased) anna burch // party's over // if you're dreaming // polyvinyl * the bats // she's down // no sound- a nivara lounge fundraiser // hamilton underground press soar // ghost // soft dial tone // (self-released) extraa // bad dreams // baked // requiem pour un twister bill baird // empty university // flower children's children's children // ebb honey radar // sea of green // split 7" w/ gray home music // third uncle le weekend // considered growth // three good songs // potluck melkbelly // humid heart // pith // wax nine * velvet bethany // turn it off // rock and roll vacation // (self-released) neon // contained // neon is life // (self-released) v-girl // johnny pissed himself // recycler 7" ep // chunklet industries sunwatchers // the conch // oh yeah? // trouble in mind james elkington // ever-roving eye // ever-roving eye // paradise of bachelors marisa anderson and tara jane o'neil // you'd be so nice to come home to // you'd be so nice to come home to 7" // jealous butcher matthew j. rolin, jason gerycz and jen powers // songbird // beacon cassette // garden portal charles rumback with jim baker and john tate // huh? // june holiday // astral spirits patrick shiroishi's black sun sutra // athialowi // anfinsen's landmark // creative sources damon locks black monument ensemble // stay beautiful // stay beautiful digital single // international anthem lakecia benjamin featuring meshell ndegeocello and georgia anne muldrow // om shanti // pursuance- the coltranes // ropeadope zekeultra // midnight ride // (the power of) the will of man // home assembly wilma archer featuring sudan archives // cheater // a western circular // weird world * yves tumor // strawberry privilege // heaven to a tortured mind // warp * young guv // wrong crowd // live in la // (self-released) scraps // secret paradise // secret paradise 7" // disembraining machine the notes // wishing well // wishing well // bleeding gold the orielles // memoirs of miso // disco volador // heavenly * say sue me // george and janice // george and janice - ep // damnably sourpatch // it's so strange // crushin' // happy happy birthday to me

* denotes music on wlur’s playlist

#wlur #radio shows