#Myriam Gendron

[dollarbin]

Shakey Sundays #6:

Neil Young and Promise of the Real's The Monsanto Years

Somehow this album is cursed in my biography. Every time I try to listen to it something goes deeply wrong. And it's no wonder: in the silly recording session photo above it looks like Neil is casting an evil spell on all of us. Monsanticus!

When the record came out in in the summer of 2015 I was suspicious; Neil had just released Storytone, and it sounded like he'd focused on painting the record's cover and washing his hogs rather than writing good songs. Plus I'd never even heard of his new backing band with their too terrible to be ironic name. Crazy Horse was alive and well; what was Young up to now?

But 20 years previously I'd been equally suspicious when Young got spooked by the Horse and buddied up with a different group of young hipsters to make Mirror Ball, and that record turned out to be awesome. And so I knew The Montsanto Years deserved my open-mindedness in spite of its clunky title and fairly gross cover art.

So I turned it up loud for the first time with my buddy Matt. It was a beautiful day and we had an open road with two hours of drive time ahead of us. Maybe we'd listen to it twice!

But halfway through the album's third song, People Want to Hear About Love, with its inspired-by-Stephen-Still's-very-own-Joe-Lala bongos, and its gather about me young squires chanting, not to mention Young's crankiest grandpa vocal stylings to date, Matt and I simultaneously announced that the song sucked. We put on Zuma instead.

Even so, People Want To Hear About Love, stayed annoyingly in my head all day, and that day was dedicated to attending our friend's younger sister's funeral. I couldn't shake crusty grandpa Neil off at the graveside as my friend's 20-something little sister was lowered into the earth, her life cut short by cancer that came with touches of abhorrent irony: she'd been a nurse; her dad was a cancer doctor. You're wrong Neil, I angrily thought, no one wants to hear about love. Nor do they ever want to hear your song again.

I've given the record sporadic second chances since then. And every time I get to the fourth track, Big Box, I perk up. After all, it opens with Neil alone, playing a demonstrative and churning, here's how it works kids, follow my lead, riff that sounds like it's lifted straight from Mirror Ball.

But before you know it Neil croons "Too Big To Fail" in overdubbed fashion and rhymes "excited" with "Citizens United" (you know, the Supreme Court case that gave corporations the power to essentially buy our elections) and, despite some pretty exciting guitar interplay whenever Young shuts his trap, rather than echoing Mirror Ball the whole thing sounds like Young is hanging out with Kai Ryssdal or David Brancaccio on Marketplace. Come on Neil, that's my least favorite show on NPR.

Yesterday I gave the record yet another try: but again, no dice; my 15 year old ipod (no, I don't own The Monsanto Years on vinyl; I got it in true Dollar Bin fashion by checking it out at the library) played me the first two songs, the lyrically regrettable opening track, which isn't amazing but does not suck, and the pretty lovely, quavering Wolf Moon, before the device (it's the kind with a dial on the lower half; there are 22 thousand songs on the thing, and around 1600 of them are Young's), perhaps disgusted by my choice for this week's Shakey Sunday, cried uncle and died in what appeared to be the very real Steve Jobs kinda fashion.

I was able to resuscitate it eventually but I'm unsure whether or not to risk resumption of the album. After all, it's cursed! And when the terrible day comes, and my ipod refuses to wake back up no matter how many times I pressed down all the buttons at once while cursing, will I need to find another way, either through a very nonDollar Bin purchase of the vinyl or through Neil's old timey, betamax website, to listen to The Monsanto Years ever again? Or can I just stick with Zuma?

Well, let's find out the answer. It's a Shakey Sunday and I'm about to roll my ipod's dice, press play, and go song by song through the rest of Neil's far too long screed against agrobusiness.

The fifth song, A Rock Star Bucks a Coffee Shop, is a big No vote for the record. Yikes. I'd rather drink a big cuppa GMO than hear Young rhyme GMO with Mont-san-to ever again. Whoever is responsible for the whistling in this song needs to never purse their lips in my presence again.

I suspect POTR (I refuse to ever type the band's terrible name out again; I wish they'd named themselves Promise of the Real Sausages instead) are big fans of Young's live bender record Time Fades Away. Working Man's got that vibe but it's slick instead of shakey. Yuck.

In Rules of Change Neil gives us yet another version of the story he's been telling over and over again for the whole record: the farmers have woes; climate change is real; we're doomed unless we get on Uncle Neil's groovy train of love. Look: I'm an environmentalist already. I do what I can to eat sustainably; I ride my bike to work alongside my sweet daughter as much as possible; and I've got a bootleg gray water system already running out the back of my house as we speak, watering my trees with our laundry water. The simple truth is that I never needed this concept album, or any of Young's too numerous to count environmental anthems. I already know this stuff. I'm already angry and I already vote and if Trump gets elected next fall I'll lose my mind a second time. Frankly, Neil, I'd much rather imagine sleeping with Pocahontas.

But it's when we get to the album's title track that I start to wish my ipod was indeed broken.

The song is a terrifying double to Danger Bird: it's slow and brooding with caveman vocals. But the guitar is mostly sickening instead of life changing and everyone's chanting "Safeway" instead of telling me about Carrie Snodgrass sleeping around with some still unknown famous enemy of Young's and ruining his life in 75. I guess Neil's right, people do want to hear about love. And Marlon Brando. And the Astrodome. And me.

I haven't got much to say about the final track, If I Don't Know. It occurs, and it sucks less than most of what we just sat through. What I fear is that Young is letting some young hipster solo at the end of the song while he stands by, contemplating corporate sin. Jimi Hendrix is dead, Ira Kaplan is busy, Richard Thompson isn't interested and Stephen Stills sucks; no other man on earth should be allowed to solo on a guitar while on stage with Neil.

(But I'd be more than happy to have any number of women do so, however, from Leslie Feist to Myriam Gendron to the recently resurgent Joni Mitchell herself.)

Okay folks we did it. We made it through The Monsanto Years. You have my permission to never listen to it again.

Me? As of this moment, while I hit post, I'm already half way through the record for the second time today, and I'm kinda digging my time at the Big Box store. Looks like I like the record anyway.

Neil Young: even his garbage swings.

#Youtube #neil young #the promise of the real #stephen stills sucks #shakey sundays #feist #myriam gendron

[radiophd]

myriam gendron -- long way home

#2020s #rock #indie #myriam gendron

[bandcampsnoop]

11/8/23.

I've been a fan of Sophomore Lounge for years. From Bill Direen to Huevos, Ryan Davis' label (originally in Louisville, now in Jeffersonville, Indiana) has been releasing diverse sounds for going on 20 years.

It seems appropriate that the label's breakout release would feature Davis (also in State Champion) himself under the name Ryan Davis & the Roadhouse Band. Pitchfork reviewed it on November 3rd and gave it an impressive 7.9. This LP brings to mind Wilco, The Jayhawks, Son Volt and The Silos. One of the fans who bought this wrote, "David Berman was right when he called Ryan our [Louisville's] best living lyricist."

Joan Shelley is a guest vocalist. Check out her split single with Myriam Gendron on No Quarter.

#Ryan Davis & the Roadhouse Band #Jeffersonville #Indiana #Louisville #Sophomore Lounge #State Champion #Bill Direen #Huevos #Wilco #Son Volt #The Silos #The Jayhawks #Joan Shelley #Myriam Gendron #David Berman #Bandcamp

[doomandgloomfromthetomb]

Myriam Gendron - Nelsonville Music Festival, Nelsonville, Ohio, September 2, 2022

If you pick up a recent issue of Uncut — the one with Bjork on the cover — you can read my all-too-brief feature on Myriam Gendron. Since hearing Not So Deep As A Well back in 2014, she's been a favorite of mine, so it was a pleasure/honor to chat with her! Here's a little outtake for you Doom & Gloomsters.

Some people want cheerful music because life is already so tough. You don't want to make it worse. But some people are looking for a kind of mirror of what they're feeling. And then the music helps. From what people write to me, that might be what my music does. It's sharing something with someone. I don't know — obviously, I'm sad, but everyone's sad! I'm OK, I'm not only sad [laughs].

Myriam has been spending some of this year touring behind her magnificent Ma d​é​lire - Songs of love, lost & found LP — and she's got some UK and Europe shows coming up very soon. If you're in those places, you definitely want to go. For the rest of us, enjoy this recent performance out in Nelsonville, which includes Gendron's fantastic cover of Eno's "The Fat Lady of Limbourg." The jellyfish kiss!

#myriam gendron

[pquessev]

Myriam Gendron, 4 novembre 2022, premier concert en France organisé par Des Pies Chicaillent à l’Institut franco-américain de Rennes. J’ai eu la chance d’y assister et c’est de loin le meilleur concert de folk que j’ai vu depuis bien longtemps. Photo: Antoine Pop’s.

#myriam gendron #des pies chicaillent

[gigisland]

Myriam Gendron live @ Le National, Montreal

May 12 2022

#myriam gendron #montreal #live music #canada #mtl gigs

[ohrenoir]

Myriam Gendron - Long Way Home 

#Myriam Gendron - Long Way Home #Youtube

[bttrflyblu]

Myriam Gendron - "Threnody" at Studio Victor

#music #Youtube

[dealgemeneverwarring]

De Algemene Verwarring #105 - 22 January 2024

Episode one hundred and five of De Algemene Verwarring was broadcast on Monday, January 22, 2024, and you can listen to it by clicking on the link below that will take you directly to the Mixcloud page:

Pictured below is Belgian cold wave band De Brassers. The band played their very last show last week in Brussels, saying goodbye to their audience. They released a cassette, a single and a 12" in the early eighties before drug abuse stopped the band for a while. They had a restart in a different lineup somewhere in the late nineties and have been playing shows since then, compilations and live albums were released, the legend was growing. Yes, "En Toen Was Er Niets Meer" is a Belgian classic, but you know how it goes with classics: you get bored of them, so I played another song in this episode to pay tribute to a notorious Belgian band. Oh yeah apparently it is also "week of Belgian music" this week, but as you probably know we don't care much about that, I mean, I play Belgian music if I like it and I don't play it if I don't like it, that's the whole idea about playing music that we like, isn't it? Anyway, praise to De Brassers because they have had an important influence on Belgian music history. Other music in this episode comes from Brainbombs, Death, Tyvek, The Fall, Television Personalities, Cosey Mueller, HTRK, Ekin Fil, Myriam Gendron and more. Also, there's a track from The Soft Moon. Rest in peace, Luis Vasquez. I'll never forget the Soft Moon debut record that left quite an impression on me, and of course the show in Kortrijk at the Sinksen fest, which was amazing. And as always, beneath the photo you can find the playlist for this episode. Enjoy!

Playlist:

Brainbombs: Blackout Ripper (7” “Blackout Ripper” on Skrammel Records, 2023)

Personal & The Pizzas: Brass Knuckles (7” “Brass Knuckles” on Bubbledump Records & Search And Destroy Records, 2009)

Tyvek: Give It Up (2x7” “Summer Burns” on What’s Your Rupture?, 2007)

Death: Keep On Knocking (LP “…For The Whole World To See” on Drag City, 2009, originally released on a 7” in 1976)

Thee Oh Sees: Inquiry Perpetrated (2xLP “Singles Vol. 1 + 2” on Castle Face, 2011)

The Fall: Prole Art Threat (LP “Slates”, reissue on Superior Viaduct, 2021, originally released on a 10” on Rough Trade, 1981)

Television Personalities: In A Perfumed Garden (LP “They Could Have Been Bigger Than The Beatles”, reissue on 1972 Records, originally released in 1982 by Wham! Records)

De Brassers: Twijfels (2LP “1979-1982” on OnderStroom Records, 2010, originally released in 1980 on a 7” “En Toen Was Er Niets Meer” by Bras Records)

Coitus Int.: Cat-Like Movements (LP “Coitus Int.”, reissue on Bunkerpop, 2014, originally self-released in 1981)

The Soft Moon: We Are We (LP “The Soft Moon” on Captured Tracks, 2010)

Cosey Mueller: Innen Ohne (LP “Irrational Habits” on Static Age Records, 2023)

Die Letzten Ecken: Der Ritter (LP “Talisman” on Static Age Records, 2023)

Thinking Fellers Union Local 282: Hell Rules (7” “The Natural Finger” on Ajax Records, 1990)

HTRK: Valentina (LP “Rhinestones” on N&J Blueberries, 2021)

Cindy: The Price Is Right (LP “Standard Candle Demos” on Sloth Mate Productions, 2023)

Myriam Gendron: Solace (LP “Not So Deep As A Well”, reissue on Feeding Tube Records, 2023, originally released in 2014)

Ekin Fil: Desired (LP “Being Near” on Helen Scarsdale Agency, 2016) - Ekin Üzeltüzenci - vorig jaar nog lp uitgebracht op 112 exemplaren

Ordeal: Huggormen (LP “Vätterns Pärla” on Aguirre Records, 2023

#radioshow #de algemene verwarring #punk #post punk #experimental music #noise #drones #new wave #folk #indie

[dustedmagazine]

Learning to go out again:  Jennifer Kelly’s 2022 in review

Meg Baird plays Chicago

Meg Baird calls it “people practice,” the ordinary skills that we require to interact successfully with other human beings. Small talk, the appropriate amount of eye contact, a certain minimal degree of comfort in crowds: these are all things that eroded in the pandemic.  And going even further, I’d add we ran short of “leaving your living room practice,” the difficult process of readjusting to unpredictable environments again. I got really bad at that in 2020 and 2021.

So, while 2022 was, in many ways, a joyous return to the norm, it was also deeply uncomfortable. Again and again, I’d show up far too early to shows and avoid talking to strangers.  I’d mistake soundchecks for music. I’d get bands mixed up and think the opener was the headliner or at least the second band. It was like I’d never been to a show in my life.  But gradually, over a year that was really genuinely rich in opportunities to see live music, I started to remember why I loved it — and how to be marginally less annoying to everyone around me. And I got to see some wonderful performances.

There was James Xerxes Fussell’s intricately re-arranged Americana on the eve of a blizzard in January and Jaimie Branch’s mesmerizing Anteloper just a month or so before she died. Our local festival, Thing in the Spring, once again delivered incredible abundance with Lee Ranaldo, Myriam Gendron, Jeff Parker, Tashji Dorji and others all taking turns on the stage. I experienced the twilight magic of Bill MacKay and Nathan Bowles on a back porch in Northampton as the bats darted overhead, as well as the viscera-stirring low tones of Sarah Davachi at a three-story-tall pipe organ at Epsilon Spires in Brattleboro. I got to see one of my very favorite bands, Oneida, at a club in Greenfield, MA, late in the year. I saw my friend Eric Gagne’s band Footings expand Bonny Prince Billy’s songs into epic, twanging bravado. Yo La Tengo came to my tiny little town and tore the place down.  In Chicago for my birthday weekend, I got a chance to hear Meg Baird and Chris Forsyth at a whiskey distillery on the Chicago River. It was a great year. I’m so glad I was there for it.  

It was also an exceptional year for recorded music as, honestly, it always is. Here are the records I enjoyed the most in 2022, but don’t pay too much attention to the numbers. The order could change tomorrow, and I may very well discover more favorites in other people’s lists.  (We’ll have a Slept On feature at some point early in 2023.) I’ve written a little bit about the top ten, but you can find longer reviews of most of them in the Dusted archives. I’ve linked these where available.

1. Winged Wheel—No Island (12XU): An underground-all-star remote collaboration melds the hard punk jangle of Rider/Horse’s Cory Plump, the unyielding percussion of Fred Thomas, the radiant guitar textures of Matthew J. Rolin and the ethereal vocal atmospheres of Matchess’ Whitney Johnson in a driving, enveloping otherworld. Just gorgeous.  

2. Oneida—Success (Joyful Noise): The best band of the aughts has dabbled in all manner of droning, experimental forms in recent years, but with Success, they return to basics.  “Beat Me to the Punch” and “I Wanna Hold Your Electric Hand” are gleeful bangers.  “Paralyzed” is a keyboard pulsing, beat-rattling psychedelic dreamworld. Success is Oneida’s best album since Secret Wars and maybe ever. (I wrote the one-sheet for Success, but I would feel this way regardless.)

3. Cate Le Bon—Pompeii (Drag City): Eerie, madcap Pompeii refracts pandemic alienation through the lens of ancient disaster, floating narcotic imagery atop herky-jerk rhythms.  Abstract and experimental, but also sublimely pop, Pompeii haunts and charms in equal measure.  

4. Destroyer—Labyrinthitis (Merge):  Dan Bejar is always interesting, but the COVID lockdown seems to have shaken him loose a bit. Labyrinthitis is typically arch, elliptical and elegant, but also a bit unhinged. Hear it in the extended rap that closes “June” or in the manic disco beat of “Suffer” or oblique but perfect wordplay in “Tinoretto, It’s for You.”  

5. Horsegirl—Versions of Modern Performance (Matador): Horsegirl elicits a lysergic roar that’s loud but somehow serene, urgent but chilled. The trio out of Chicago were everywhere suddenly and all at once, as sometimes happens to bands, but on the strength of “World of Pots and Pans” and “Billy” I suspect they’ll stick around.  

6. Jake Xerxes Fussell—Good and Green Again (Paradise of Bachelors): An early favorite that refused to fade, Good and Green Again considers old-time music from a variety of angles, often incorporating more than one version of a traditional tune in a seamless way.  The music is lovely, made more exquisite still by James Elkington’s arrangements, which are subtle, right and unexpected.  

7. Lambchop—The Bible (Merge): Stark and lavish at the same time, The Bible catches Kurt Wagner at his morose and mesmerizing best. Surreal sonic textures—including orchestral flourishes and autotuned funk beats—wreathe his weathered baritone, as he traipses through ordinary landscapes turned strange and warped.  

8. The Weather Station—How Is It That I Should Look at the Stars (Fat Possum): Tamara Lindeman drew on Toronto’s vibrant jazz community to form her band for this sixth album as the Weather Station. The band improvised alongside here as it learned the songs. As a result, these songs have the usual pristine folk purity, but also a haze of late night sophistication in elegant runs of piano and pensive plucks of bass.  

9. The Reds, Pinks and Purples—Summer at Land’s End (Slumberland): Glenn Donaldson is pretty much the best at bittersweet jangle pop right now, and this wistful, graceful collection of songs about life’s dissatisfactions is every bit as good as last year’s Uncommon Weather. Plus it’s got a seven-plus minute improvised guitar piece right in the middle, what’s not to love?

10. Tha Retail Simps—Reverberant Scratch (Total Punk): Montreal’s Retail Simps make ferocious garage rock with a bit of soul in its tail feathers. “Hit and Run” sounds like a lost Sam and the Shams b-side and “End of Times – Hip Shaker” with having doing exactly that. If they ever remake Animal House, here’s the band. 

25 more albums I loved: 

Non Plus Temps—Desire Choir (Post-Present Medium)

Joan Shelley—The Spur (Important)

Mountain Goats—Bleed Out (Merge)

The Sadies—Colder Streams (Yep Roc)

Spiritualized—Everything Was Beautiful (Fat Possum)

Superchunk—Wild Loneliness (Merge)

Hammered Hulls—Careening (Dischord)

Kilynn Lunsford—Custodians of Human Succession (Ever/Never)

Oren Ambarchi/Johan Berthling/Andreas Werliin—Ghosted (Drag City)

Green/Blue—Paper Thin (Feel It)

E—Any Information (Silver Rocket)

Sick Thoughts—Heaven Is No Fun (Total Punk)

Pedro the Lion—Havasu (Polyvinyl)

Pan*American—The Patience Fader (Kranky)

Weak Signal—War & War (Colonel)

Frog Eyes—The Bees (Paper Bag)

Pinch Points—Process (Exploding in Sound)

LIFE—True North (The Liquid Label)

Mary Lattimore & Paul Sukeena—West Kensington (Three Lobed)

Wau Wau Collectif—Mariage (Sahel Sounds)

Vintage Crop—Kibitzer (Upset the Rhythm)

Anna Tivel—Outsiders (Mama Bird)

Chronophage—S-T (Post-Present Medium/Bruit Direct Disques)

Sélébéyone— Xaybu: The Unseen (Pi)

Zachary Cale—Skywriting (Org Music)

Jennifer Kelly

#dusted magazine #yearend 2022 #jennifer kelly #winged wheel #oneida #cate le bon #destroyer #horsegirl #jake xerxes fussell #lambchop #the weather station #the reds pinks and purples #tha retail simpls

[abelkia]

La playlist de l'émission de ce jeudi matin sur Radio Campus Bruxelles entre 6h30 et 9h : Pierre Bastien "Moor's Room" (Sonic Folkways/Discrepant/2022) Mary Lattimore "Til a Mermaid Drags You Under" (Silver Ladders/Ghostly International/2020) Myriam Gendron "Not So Deep As A Well" (Not So Deep As A Well/FEEDING TUBE RECORDS/2014) Kings of Convenience- "Parallel Lines" (Quiet is the New Loud/Source/2001) Borja Flames "Negro Negro" (Nuevo Medievo/Les Disques du Festival Permanent/Murailles Music/2022) Fog "I Call this Song Old Tyme Dudes" (Ether Teeth/Ninja Tune/2003) Cos "Ixelles" (Viva Boma/Wah Wah Records/1976-2021) Blaine L. Reininger "Un café au lait for Mr. Mxyzptlk" (Night Air/Les Disques du Crépuscule/1983) BeNe GeSSeRiT "Kidnapping" (Fashion Is A Dirty Word/Domani Sounds/1987-2022) LEM "Humain ceci" (Vanitas/Slouch Hat/2022) Aunt Sally "Essay" (Aunt Sally/Mesh-Key/1979-2022) Siouxsie And The Banshees "Slowdive" (7"/Polydor/1982) Swell Maps "Whatever Happens Next…" (... In "Jane From Occupied Europe"/Rough Trade Records/1980) The Static "My Relationship" (7"/Theoretical Record/1979) Colette Magny, Dharma & Lino Leonardi "L'Extrême Orient/Tu es ma graine" (Visage-Village/Le Chant du Monde/1977) Low "Days of..." (Secret Name/Kranky/1999) Orly "Tout tend à prouver que je n'ai rien inventé" (Matériau/Le Village Vert/1998) Beastie Boys "So What'cha Want" (Check Your Head/Capitol Records/1992) Dolly Mixture "Miss Candy Twist" (Everything and More/Dolly Mixture/1984-2010) The Modern Lovers "Astral Plain" (The Original Modern Lovers/Mohawk Records/1972-1981) Les Fleurs de Pavot "A dégager" (Wizzz! (Psychorama Français 66-71)/BORN BAD RECORDS/1968-2011) Yma Sumac "Kuyaway (Cancion de Amor Inca)" (Incan High Priestess/Naked Lunch/2022) Ruth "Mots" (Polaroïd/Roman/Photo/BORN BAD RECORDS/1985-2022) Gal Costa & Caetano Veloso "Baby" (Tropicália ou Panis et Circensis/Philips/1968) https://www.instagram.com/p/CkyEER6NHQW/?igshid=NGJjMDIxMWI=

[snackpointcharlie]

Are you tired of the same old uninspiring piddly pop dribble, endlessly tuning your receptor in vain as you desperately search for the program that’ll organize the noise and chaos into a mellifluous tapestry of sound? Despair no more! Open up your ear holes and take in a deep refreshing gulp of Snackpoint Charlie. Music from elsewhere and beyond, presented in a pleasing (if sometimes baffling) manner. Live tonight from 10pm-midnight on WGXC, 90.7-FM in upstate New York, and streaming live online 24/7 at wgxc.org

Last night’s show, today - guaranteed to entertain or double your money back

Snackpoint Charlie - Transmission 135 - 2024.03.20 https://wavefarm.org/wf/archive/ce7t46 [ ^ click for download ^ ]

PLAYLIST

1) Tengger - “Exhale” from EARTHING https://tengger.bandcamp.com/album/earthing

2) Mary Lattimore & Walt McClements - “Nest of Earrings” from RAIN ON THE ROAD https://thrilljockey.com/products/rain-on-the-road

(underbed throughout:) Pinchas Gurevich - “Nurky”

3) Conrad Schnitzler - “Slow Motion 1” from SLOW MOTION https://www.forcedexposure.com/Catalog/conrad-schnitzler-slow-motion-cd/BB.452CD.html

4) Katsutoshi Morizono - “Space Traveller” from FUNK TIDE - TOKYO JAZZ-FUNK FROM ELECTRIC BIRD 1978-87 https://bit.ly/3RFvHhT

5) Mazouni - “Ecoute Moi Camarade” from UN DANDY EN EXIL - 1969-1982 https://shop.bornbadrecords.net/album/un-dandy-en-exil-1969-1982

6) LA FEMME - “Ou va le monde” from MYSTERE https://bornbadrecords.bandcamp.com/album/mystere

7) Avalanche Kaito - “Donle” from TALITAKUM https://avalanchekaito.bandcamp.com/album/talitakum

8) Ana Lua Caiano - “O Bicho Anda Por Aí” from VOU FICAR NESTE QUADRADO https://analuacaiano.bandcamp.com/album/vou-ficar-neste-quadrado

9) SAICOBAB - “Nachle Naatu Honey” from NRTYA https://saicobab.bandcamp.com/album/nrtya

10) Cabra - “Arriba El Limón” from VOL. 1 https://www.microscopi.cat/cabra

11) Ziad Rahbani - “Al Muqadenah 2 (Introduction 2)” from AMRAK SEEDNA & ABTAL WA HARAMEYAH https://www.wewantsounds.com/?lightbox=dataItem-lty6fe7y

12) Chris Sandoval y Carmen y Laura con el Conjunto Latino - “Vieja Escalera” https://en.wikipedia.org/wiki/Ideal_Records

13) The Nutmegs - “Down In Mexico” https://www.discogs.com/release/11160113-The-Nutmegs-Down-In-Mexico-My-Sweet-Dreams

14) Yekaterina Kmit - “(Unknown on USSR TV 1988)” https://www.instagram.com/reel/C38k0yGKo6C/?igsh=bGR1Y2dwaDlrb25n https://fb.watch/qXfud612i0/

15) Myriam Gendron - “Long Way Home” from MAYDAY https://myriamgendron.bandcamp.com/album/mayday

16) Tidiane Thiam - “Yewende” from AFRICA YONTII https://tidianethiam.bandcamp.com/album/africa-yontii

17) The Evolution Control Committee - “Be Worried” from Double the Phat and Still Tasteless https://evolution-control.com/index.php/discography/past-releases/64-double-the-phat-and-still-tasteless-cd-self-released

18) Tommasini Juicers - “Ellis 174”

19) Hawkwind - “Spirit of the Age” from QUARK, STRANGENESS AND CHARM https://www.discogs.com/master/28057-Hawkwind-Quark-Strangeness-And-Charm

20) Lagartha - “Rats For Anne” http://lagartha.bandcamp.com

21) Sublime Frequencies - “Tropic Audio Ephemera” from RADIO THAILAND: TRANSMISSIONS FROM THE TROPICAL KINGDOM https://sublime-frequencies.bandcamp.com/album/radio-thailand-transmissions-from-the-tropical-kingdom

#snackpointcharlieradio #wgxc #wgxcradio #hellsdonuthouse #communityradio #freeformradio #snackpointcharliewgxc #hudsonny #globalmusic #worldmusic #radioforopenears #outernational #hudsonvalley #globalbeat

[bandcampsnoop]

12/7/22.

I had just finished the post for Dotti Holmberg, when I saw an email from New York based label Ba Da Bing Records announcing the new LP from New York based artist Nighttime (Eva Louise Goodman).

While the new LP "Keeper is the Heart" is the new release, I immediately fell for "Turning Wheel" and it's pastoral folk sounds that remind me of Vashti Bunyan, Pentangle, Fairport Convention, Maxine Funke, Myriam Gendron, Diana Darby and many many others. "Forsythia" sounds like the coolest church choir song ever sung.

The new album does offer a lusher/full band sound with a perfect sounding bass a la Eerie Wanda.

#Nighttime #New York #Ba Da Bing Records #Eva Louise Goodman #Vashti Bunyan #Pentangle #Fairport Convention #Maxine Funke #Myriam Gendron #Diana Darby #Eerie Wanda #Bandcamp

[doomandgloomfromthetomb]

Myriam Gendron - CKUT's Montreal Sessions, May 30, 2023

The mighty Myriam Gendron has some live dates coming up later this year with Will Oldham — if you're in the Lone Star State, you should probably just quit your job and follow these two around on tour.

The rest of us can enjoy this short-but-very-sweet radio session from a few weeks back, featuring Gendron playing a few wonderful renditions of tunes from her masterful 2021 LP Má delire - Songs of love, lost & found. And hey, Myriam mentions that a new album is well underway, which is good news.

More??? Sure — you can check out my little "We're New Here" interview with Myriam over on Uncut's website now.

#myriam gendron

[songsformysons]

Myriam Gendron - C'est dans les Vieux Pays (Suoni Per Il Popolo Festival 2021)

[metacarpus]

🍂

Myriam Gendron, Le Tueur de Femmes

but really the whole album:

it's folk woven with melancholy