#andrew forell

[dustedmagazine]

Listening Post: Kim Gordon

Kim Gordon has long been one of rock’s female icons, one of a tiny handful of women to get much play in Michael Azzerad’s underground-defining Our Band Could Be Your Life and a mainstay in the noise-rock monolith Sonic Youth. It’s hard to imagine that quintessential dude rock band without Gordon in front, dwarfed by her bass or spitting tranced out, pissed off verses over the storm of feedback.

Yet Gordon’s trajectory has been, if anything, even more fascinating since Sonic Youth’s demise in 2011. A visual artist first — she studied art at the Otis College of Art and Design before joining the band — she continues to paint and sculpt and create. She’s had solo art shows at established galleries in London and New York, most recently at the 303 Gallery in New York City. A veteran of indie films including Gus van Zant’s Last Days and Todd Haynes I’m Not There, she has also continued to act sporadically, appearing in the HBO series Girls and on an episode of Portlandia. Her memoir, Girl in a Band, came out in 2015.

But Gordon has remained surprisingly entrenched in indie music over the last decade. Many critics, including a few at Dusted, consider her Body Head, collaboration with Bill Nace the best of the post-Sonic Youth musical projects. The ensemble has now produced two EPs and three full-lengths. Gordon has also released two solo albums, which push her iconic voice into noisier, more hip hop influenced directions. We’re centering this listening post around The Collective, Gordon’s second and more recent solo effort, which comes out on Matador on March 8th, but we’ll likely also be talking about her other projects as well.

Intro by Jennifer Kelly

Jennifer Kelly: I missed No Home in 2019, so I was somewhat surprised by The Collective’s abrasive, beat-driven sound though I guess you could make connections to Sonic Youth’s Cypress Hill collaboration?

The more I listen to it, though, the more it makes sense to me. I’ve always liked the way Gordon plays with gender stereotypes, and “I’m a Man” certainly follows that trajectory. What are you guys hearing in The Collective?

Jonathan Shaw: I have only listened through the entire record once, but I am also struck by its intensities. Sort of silly to be surprised by that, given so many of the places she has taken us in the past: noisy, dangerous, dark. But there's an undercurrent of violence to these sounds that couples onto the more confrontational invocations and dramatizations of sex. It's a strong set of gestures. I like the record quite a bit.

Bill Meyer: I'm one of those who hold Body/Head to be the best effort of the post-Sonic Youth projects, but I'll also say that it's very much a band that creates a context for Gordon to do something great, not a solo effort. I was not so taken with No Home, which I played halfway through once upon its release and did not return to until we agreed to have this discussion. I've played both albums through once now, and my first impression is that No Home feels scattered in a classic post-band-breakup project fashion — “let's do a bit of this and that and see what sticks.” The Collective feels much more cohesive sonically, in a purposeful, “I'm going to do THIS” kind of way.

Jonathan Shaw: RE Jennifer's comment about “I'm a Man”: Agreed. The sonics are very noise-adjacent, reminding me of what the Body has been up to lately, or deeper underground acts like 8 Hour Animal or Kontravoid's less dancy stuff. Those acts skew masculine (though the Body has taken pains recently to problematize the semiotics of those photos of them with lots of guns and big dogs...). Gordon's voice and lyrics make things so much more explicit without ever tipping over into the didactic. And somehow her energy is in tune with the abrasive textures of the music, but still activates an ironic distance from it. In the next song, “Trophies,” I love it when she asks, “Will you go bowling with me?” The sexed-up antics that follow are simultaneously compelling and sort of funny. Rarely has bowling felt so eroticized.

Jennifer Kelly: I got interested in the beats and did a YouTube dive on some of the other music that Justin Raisen has been involved with. He's in an interesting place, working for hip hop artists (Lil Yachty, Drake), pop stars (Charli XCX) and punk or at least punk adjacent artists (Yeah Yeah Yeahs, Viagra Boys), but nothing I've found is as raw and walloping as these cuts.

“The Candy House” is apparently inspired by Jennifer Egan's The Candy House, which is about a technology that enables people to share memories... Gordon is pretty interested in phones and communications tech and how that's changing art and human interaction.

Andrew Forell: My immediate reaction to the beats was oh, The Bug and JK Flesh, in particular the MachineEPs by the former and Sewer Bait by the latter. Unsurprisingly, as Jonathan says, she sounds right at home within that kind of dirty noise but is never subsumed by it

Jennifer Kelly: I don't have a deep reference pool in electronics, but it reminded me of Shackleton and some of the first wave dub steppers. Also, a certain kind of late 1990s/early aughts underground hip hop like Cannibal Ox and Dalek.

Bryon Hayes: Yeah, I hear some Dalek in there, too. Also, the first Death Grips mixtape, Ex-Military.

It's funny, I saw the track title “I'm a Man,” and my mind immediately went to Bo Diddley for some reason, I should have known that Kim would flip the script, and do it in such a humorous way. I love how she sends up both the macho country-lovin’ bros and the sensitive metrosexual guys. It's brilliant!

This has me thinking about “Kool Thing”, and how Chuck D acts as the ‘hype man’ to Kim Gordon in that song. I'm pretty sure that was unusual for hip hop at the time. Kim's got a long history of messing with gender stereotypes.

Bill Meyer: Gordon did a couple videos for this record, and she starred her daughter Coco in both of them. The one for “I'm A Man” teases out elements of gender fluidity, how that might be expressed through clothing, and different kinds of watching. I found the video for “Bye Bye” more interesting. All the merchandise that's listed in the video turns out to be a survival kit, one that I imagine that Gordon would know that she has to have to get by. The protagonist of the video doesn't know that, and their unspoken moment in a car before Coco runs again was poignant in a way that I don't associate with her work. And of messing with hip hop!

Tim Clarke: “Bye Bye” feels like a companion to The Fall’s “Dr Buck’s Letter.”

Bill Meyer: From The Unutterable? I'll have to a-b them.

Tim Clarke: That’s the one.

Jonathan Shaw: All of these comments make me think of the record’s title, and the repeated line in “The Candy House”: “I want to join the collective.” Which one? The phone on the record’s cover nods toward our various digital collectives — spaces for communication and expression, and spaces for commerce, all of which seem to be harder and harder to tell apart. A candy house, indeed. Why is it pink? Does she have a feminine collective in mind? A feminine collective unconscious? The various voices and lyric modes on the record suggest that's a possibility. For certain women, and for certain men working hard to understand women, Gordon has been a key member of that collective for decades.

Jennifer Kelly: The title is also the title of a painting from her last show in New York.

The holes are cell phone sized.

You can read about the show here, but here's a representative quote: “The iPhone promises freedom, and control over communication,” she says. “It’s an outlet of self-expression, and an escape and a distraction from the bigger picture of what’s going on in the world. It’s also useful for making paintings.”

Gordon is a woman, and a woman over 70 at that — by any measure an underrepresented perspective in popular culture. However, I’d caution against reading The Collective solely as a feminist statement. “I'm a Man,” for instance, is told from the perspective of an incel male, an act of storytelling and empathy not propaganda. My sense is that Gordon is pretty sick of being asked, “What's it like to be a girl in a band?” (per “Sacred Trickster”) and would like, maybe, to be considered as an artist.

It's partly a generational thing. I'm a little younger than she is, but we both grew up in the patriarchy and mostly encountered gender as an external restriction.

As an aside, one of my proudest moments was when Lucas Jensen interviewed me about what it was like to be a freelance music writer, anonymously, and Robert Christgau wrote an elaborate critique of the piece that absolutely assumed I was a guy. If you're not on a date or getting married or booking reproductive care, whose business is it what gender you are?

There, that's a can of worms, isn't it?

Jonathan Shaw: Feminine isn't feminist. I haven't listened nearly closely enough to the record to hazard an opinion about that. More important, it seems to me the masculine must be in the feminine unconsciousness, and the other way around, too. Precisely because femininity has been used as a political weapon, it needs imagining in artistic spaces. Guess I also think those terms more discursively than otherwise: there are male authors who have demonstrated enormous facility with representing femininity. James, Joyce, Kleist, and so on. Gordon has always spoken and sung in ways that transcend a second-wave sort of feminine essence. “Shaking Hell,” “PCH,” the way she sings “I Wanna Be Your Dog.”

Jennifer Kelly: Sure, she has always been shape-shifter artistically.

The lyrics are super interesting, but almost obliterated by noise. I’m seeing a connection to our hyperconnected digital society where everything is said but it’s hard to listen and focus.

Bill Meyer: Concrete guy that I am, I’ve found myself wishing I had a lyric sheet even though her voice is typically the loudest instrument in the mix.

Andrew Forell: Yes, that sense of being subsumed in the white noise of (dis)information and opinion feels like the utopian ideal of democratizing access has become a cause and conduit of alienation in which the notion of authentic voices has been rendered moot. It feels integral to the album as a metaphor

Christian Carey: How much of the blurring of vocals (good lyrics — mind you) might involve Kim’s personal biography, I wonder? From her memoirs, we know how much she wished for a deflection of a number of things, most having to do with Thurston and the disbandment of SY.

Thurston was interviewed recently and said that he felt SY would regroup and be able to be professional about things. He remarked that it better be soon: SY at eighty wouldn’t be a good look!

Andrew Forell: And therein lies something essential about why that could never happen

Ian Mathers: I know I’m far in the minority here (and elsewhere) because I’ve just never found Sonic Youth that compelling, despite several attempts over the years to give them another chance. And for specifically finding Thurston Moore to be an annoying vocal presence (long before I knew anything about his personal life, for what it's worth). So, I’m in no hurry to see them reunite, although I do think it would be both funny and good if everyone except Moore got back together.

Having not kept up with Gordon much post-SY beyond reading and enjoying her book, I wasn’t sure what to expect from this record. After a couple of listens, I’m almost surprised how much I like it. Even though I’m lukewarm on SY’s music, she’s always been a commanding vocal presence and lyricist and that hasn’t changed here (I can echo all the praise for “I’m a Man,” and also “I was supposed to save you/but you got a job” is so bathetically funny) and I like the noisier, thornier backing she has here. I also think the parts where the record gets a bit more sparse (“Shelf Warmer”) or diffuse (“Psychic Orgasm”) still work. I've enjoyed seeing all the comparisons here, none of which I thought of myself and all of which makes sense to me. But the record that popped into my head as I listened was Dead Rider’s Chills on Glass. Similar beat focus, “thick”/distorted/noisy/smeared production, declamatory vocals. I like that record a lot, so it's not too surprising I'm digging this one.

Jennifer Kelly: I loved Sonic Youth but have zero appetite for the kind of nostalgia trip, just the hits reunion tour that getting back together would entail.

Jonathan Shaw: Yeah, no thanks to that.

RE Christian's comment: Not sure I see deflection so much as the impossibility of integration. We are all many, many selves, always have been. Digital communications interfaces and social media have just lifted it to another level of experience. Gordon sez, “I don't miss my mind.” Not so much a question of missing it in the emotional/longing sense, more so acknowledging that phrases like “my mind” have always been meaningless. Now we partition experience and identity into all of these different places, and we sign those pieces of ourselves over, to Zuck and the algorithms. We know it. We do it anyways, because it's the candy house, full of sweets and pleasures that aren't so good for us, but are really hard to resist. “Come on, sweets, take my hand...”

Bill Meyer: I would not mind hearing all of those SY songs I like again, can’t lie, although I don’t think that I’d spend Love Earth Tour prices to hear them. But given the water that has passed under the bridge personally, and the length of time since anyone in the band has collaborated creatively (as opposed to managing the ongoing business of Sonic Youth, which seems to be going pretty well), a SY reunion could only be a professionally presented piece of entertainment made by people who have agreed to put aside their personal differences and pause their artistic advancement in order to make some coin. There may be good reasons to prioritize finances. Maybe Thurston and/or Kim wants to make sure that they don’t show up on Coco’s front door, demanding to move their record or art collection into her basement, in their dotage. And Lee’s a man in his late 60s with progeny who are of an age to likely have substantial student loan debt. But The Community is just the kind of thing they’d have to pause. It feels like the work of someone who is still curious, questioning, commenting. It's not just trying to do the right commercial thing.

Justin Cober-Lake: I’m finding this one to be a sort of statement album. I’d stop short of calling it a concept album, but there seems to be a thematic center. I think a key element of the album is the way that it looks for... if not signal and noise, at least a sense of order and comprehensibility in a chaotic world. Gordon isn’t even passing judgment on the world — phones are bad, phones are good, phones make art, etc. But there’s a sense that our world is increasingly brutal, and we hear that not just in the guitars, but in the beats, and the production. “BYE BYE” really introduces the concept. Gordon’s leaving (and we can imagine this is autobiographical), but she’s organizing everything she needs for a new life. “Cigarettes for Keller” is a heartbreaking line, but she moves on, everything that makes up a life neatly ordered next to each other, iBook and medications in the same line. It reminds me of a Hemingway character locking into the moment to find some semblance of control in the chaos.

Getting back to gender, there’s a funny line at the end: one of the last things she packs is a vibrator. I'm not sure if we're to read this as a joke, a comment on the necessity of sexuality in a life full of transitory moments, as a foreshadowing of the concepts we’ve discussed, or something else. The next item (if it’s something different) is a teaser, which could be a hair care product or something sexual (playing off — or with — the vibrator). Everything's called into question: the seriousness of the track, the gender/sexuality ideas, what really matters in life. Modern gadgets, life-sustaining medicines, and sex toys all get equal rank. That tension really adds force to the song.

Coming out of “BYE BYE,” it's easy to see a disordered world that sounds extremely noisy, but still has elements we can comprehend within the noise. I don’t want to read the album reductively and I don't think it's all about this idea, but it's something that, early on in my listening, I find to be a compelling aspect of it.

#dusted magazine #listeningpost #kim gordon #the collective #jennifer kelly #jonathan shaw #bill meyer #andrew forell #bryon hayes #tim clarke #christian carey #ian mathers #justin cober-lake

[piasgermany]

[News] Nilüfer Yanya präsentiert “the dealer”!

Die britische Musikerin Nilüfer Yanya veröffentlicht am 04. März ihr zweites Album “PAINLESS“ über ATO Records und präsentiert kurz vorher noch die neue Single “the dealer“.

Der Rhythmus-fokussierte Track behandelt lyrisch die sich wiederholenden Regelmäßigkeiten der Natur – die Gezeiten und Jahreszeiten.  

„I find it interesting how we attach certain memories and feelings to different seasons and tend to revisit them time and time again, yet our lives move in a more linear motion and even when we feel like we are going back we never really get to go back anywhere. Musically speaking it's a bit more playful and relaxed."

Den nervösen Drums und Akustikgitarre bringt Nilüfer ihre warme und vielseitige Stimme entgegen, welche einen beinahe beruhigenden Kontrast bildet.

Als Tochter zweier künstlerischer Elternteile (ihre irisch-barbadische Mutter ist Textildesignerin, die Gemälde ihres türkischstämmigen Vaters sind im Britischen Museum ausgestellt), wuchs Nilüfer bereits in einem kreativen Umfeld auf. Mit ihrem zweiten Album “Painless” begibt sich Yanya nun auf die nächste Stufe ihrer ideenreichen Reise und stürzt sich kopfüber in die Tiefen ihrer emotionalen Verletzlichkeit. Die zwölf Songs wurden in einem Kellerstudio in Stoke Newington und bei Riverfish Music in Penzance mit Miss Universe-Mitarbeiterin und Produzentin Wilma Archer, DEEK Recordings-Gründer Bullion, Big Thief-Produzent Andrew Sarlo und Musiker Jazzi Bobbi aufgenommen.

und wir freuen uns, dass Nilüfers Shows stattfinden können: 23. März 2022 München - Ampere 24. März 2022 Wien (A) - Grelle Forelle 26. März 2022 Berlin - Säälchen 27. März 2022 Hamburg - Nochtspeicher Booking: Melt!

#nilüfer yanya #painless #ato #live

[humongousfanhologram]

Heifetz 2017: Schubert's "Trout" - The Quintet, and the Song!

00:28 Introduction by Andrew Rosenblum 03:46 Schubert: Piano Quintet in A major, "Trout", D. 667: I. Allegro Vivace 13:20 II. Andante 20:14 III. Scherzo. Presto 24:12  Schubert: Die Forelle, D. 550 (Carol Mastrodomenico, soprano) 26:59 IV: Andantino. Allegretto (Theme & Variations) 35:04 V. Allegro Giusto From a 2017 Heifetz Institute "Sunday Matinee," a complete performance of Schubert's "Trout" Quintet in A, D. 667, with the added bonus of the song that inspired it - Schubert's "Die Forelle" ("The Trout") performed by soprano Carol Mastrodomenico (a member of the Heifetz Institute Communication Faculty) right before the theme-and-variations fourth movement that gives the Quintet for Violin, Viola, Cello, Doublebass, and piano its name. Performers: Ji-Won Song, violin (2017 Heifetz Artist in Residence) Daniel Burmeister, viola (2017 Heifetz Institute student) Thomas Mesa, cello (2017 Heifetz Institute Artist in Residence) Bruce Rosenblum, doublebass Andrew Rosenblum, piano (Heifetz faculty keyboardist)

#schubert #trout #the quintet #ji-won song #classical music

[meubloglgbtqiamais]

Bibliografia básica sobre homossexualidade

A respeito da comunidade LGBT, segue uma lista com bibliografias de obras relacionadas ao tema encontrados no Blog Luiz Mott. A proposta do responsável é divulgar artigos científicos, bibliografias sobre a homossexualidade, Direitos Humanos, entre outras fontes de informações. A lista está divida por 5 tópicos indo do geral para específicos, e e nas quais estão organizadas obras em ordem alfabética. Também está disponível uma lista bibliográfica de livros escritos por ele sobre Homossexualidade e Aids (1984-2002), seguindo uma ordem cronológica de publicações. 

1. Geral

BURR, Chandler. Criação em separado: como a Biologia nos faz homo ou hetero. Trad. Ary Quintella. Rio de Janeiro: Record, 1998. CORRAZE, Jacques. L’homosexualité. Paris: Presses Universitaires de France, 1982. (Que sais-je?) CORY, Donald W. El homosexual en NorteAmerica. Trad. Alfredo S. Luna. México: Compañía General de Ediciones, 1951. COSTA, Jurandir F. A inocência e o vício: estudos sobre o homoerotismo. Rio de Janeiro: Relume Dumará, 1992. ___. A face e o verso: estudos sobre o homoerotismo II. São Paulo: Escuta, 1995. (O sexto lobo, clínica do social) COUTO, Edvaldo Souza. Transexualidade: o corpo em mutação. Salvador: Ed. Grupo Gay da Bahia, 1999. (Gaia Ciência) DAGNESE, Napoleão. Cidadania no armário: uma abordagem sócio-jurídica acerca da homossexualidade. São Paulo: LTR, 2000. DALLAYRAC, Dominique. Dossier homosexualité. Paris: Robert Lafont, 1968. DIAS, Maria Berenice. União homossexual: o preconceito e a Justiça. Porto Alegre: Livraria do Advogado Editora, 2000. DOVER, K. J. A homossexualidade na Grécia Antiga. Trad. Luís S. Krausz. São Paulo: Nova Alexandria, 1994. FOUCAULT, Michel. História da sexualidade: a vontade de saber. Vol. I. Trad. Maria Thereza da Costa Albuquerque e J. A. Guilhon Albuquerque. 9. ed. Rio de Janeiro: Graal, 1988. ___. História da sexualidade: o uso dos prazeres. Vol. II. Trad. Maria Thereza da Costa Albuquerque. 5. ed. Rio de Janeiro: Graal, 1984. ___. História da sexualidade: o cuidado de si. Vol. III. Trad. Maria Thereza da Costa Albuquerque. 3. ed. Rio de Janeiro: Graal, 1985. FRY, Peter, MACRAE, Edward. O que é homossexualidade. São Paulo: Abril Cultural/Brasiliense, 1985. (Primeiros Passos) HART, John, RICHARDSON, Diane (orgs.). Teoria e prática da homossexualidade. Trad. Vera Ribeiro. Rio de Janeiro: Zahar, s.d. (Psyche) HAUSER, Richard. La società omosessuale. Trad. Ugo Carrega. Milano: Longanesi, 1965. HELMINIAK, Daniel A. O que a Bíblia realmente diz sobre a homossexualidade. Trad. Eduardo T. Nunes. São Paulo: Summus, 1998. HOCQUENGHEM, Guy. A contestação homossexual. Trad. Carlos Eugênio M. de Moura. São Paulo: Brasiliense, 1980. HOPCKE, Robert H. Jung, junguianos e a homossexualidade. Trad. Cássia Rocha. São Paulo: Siciliano, 1993. LAMBERT, Royston. Pederastia na Idade Imperial. Sobre o amor de Adriano e Antínoo.Trad. Jorge de Morais. [S.l.]: Assírio & Alvim, 1990. LIMA, Délcio M. de. Os homoeróticos. Rio de Janeiro: Francisco Alves, 1983. MARCH, Sue. Libertação homossexual. Trad. Ubirajara B. Júnior. São Paulo: Nova Época Editorial, 1981. MARMOR, Judd (org.). A inversão sexual: as múltiplas raízes da homossexualidade. Trad. Christiano M. Oiticica. Rio de Janeiro: Imago, 1973. MÍCCOLIS, Leila, DANIEL, Herbert. Jacarés e lobisomens: dois ensaios sobre a homossexualidade. Rio de Janeiro: Achiamé, 1983. MORENO, Antônio. A personagem homossexual no cinema brasileiro. Rio de Janeiro: FUNARTE, Niterói: EDUFF, 2001. MOTT, Luiz. Escravidão, homossexualidade e demonologia. São Paulo: Ícone, 1988 Mott, Luiz. Homossexualidade: Mitos e Verdades. Salvador, Ed.GGB, 2003 ___. Relações raciais entre homossexuais no Brasil colônia. Revista Brasileira de História, ANPUH, v. 3, n. 10, mar/ag 1985. OKITA, Hiro. Homossexualismo: da opressão à libertação. São Paulo: Proposta Editorial, s/d. ORAISON, Marc. A questão homossexual. Trad. José Kosinski. Rio de Janeiro: Nova Fronteira, 1977. (Experiência e Psicologia) POVERT, Lionel. Dictionnaire gay. Paris: Jacques Grancher Éditeurs, 1994. Revista Brasileira de Sexualidade Humana, São Paulo: Iglu Ed., v. 7, edição especial n. 1, mar 1996. RICHARDS, Jeffrey. Sexo, desvio e danação: as minorias na Idade Média. Trad. Marco Antônio E. da Rocha e Renato Aguiar. Rio de Janeiro: Zahar, 1993. RUSE, Michael. La homosexualidad. Trad. Carlos Laguna. Madrid: Ediciones Cátedra, 1989. SELL, Teresa A. Identidade homossexual e normas sociais. (Histórias de vida). Florianópolis: Ed. da UFSC, 1987. SPENCER, Colin. Homossexualidade, uma história. Trad. Rubem M. Machado. Rio de Janeiro: Record, 1996. (Contraluz) SULLIVAN, Andrew. Praticamente normal: uma discussão sobre o homossexualismo. Trad. Isa Mara Lando. São Paulo: Companhia das Letras, 1996. TREVISAN, João Silvério. Devassos no paraíso: a homossexualidade no Brasil, da colônia à atualidade. (Ed. revista e ampliada) Rio de Janeiro: Record, 2000. VIDAL, Marciano et alii. Homossexualidade: ciência e consciência. Trad. Roberto P. de Queiroz e Silva e Marcos Marcionilo. São Paulo: Loyola, 1985. 2. Homossexualidade masculina BADINTER, Elizabeth. XY, sobre a identidade masculina. Trad. Maria Ignez D. Estrada. 2. ed. Rio de Janeiro: Nova Fronteira, 1993. BARCELLOS, José Carlos. Literatura e homoerotismo masculino: perspectivas teórico-metodológicas e práticas críticas. Caderno seminal, Rio de Janeiro, v. 8, n. 8, 2000. BON, Michel, D’ARC, Antoine. Relatório sobre a homossexualidade masculina. Trad. Omar de P. Duane. Belo Horizonte: Interlivros, 1979. COUROUVE, Claude. Vocabulaire de l’homosexualité masculine. Paris: Payot, 1985. DOURADO, Luiz Ângelo. Homossexualismo (masculino e feminino) e delinqüência. 2. ed. Rio de Janeiro: Zahar, 1967. (Psyche) GREEN, James N. Além do carnaval: a homossexualidade masculina no Brasil do século XX. Trad. Cristina Filho e Cássio A. Leite. São Paulo: Ed. UNESP, 2000. LASCAR, Gilles. Bastidores: a noite gay. Rio de Janeiro: Mauad, 1996. LOPES, Denilson. O homem que amava rapazes e outros ensaios. Rio de Janeiro: Aeroplano, 2002. MOTT, Luiz. O sexo proibido: virgens, gays e escravos nas garras da Inquisição. São Paulo: Papirus, 1988. 3. Homossexualidade feminina ABRAS, Rosa Mª Gouvêa. A jovem homossexual. Ficção psicanalítica. Belo Horizonte: A. S. Passos Editora, 1996. BELLINI, Lígia. A coisa obscura: mulher, sodomia e Inquisição no Brasil colonial. São Paulo: Brasiliense, 1989. CAPRIO, Frank S. Homossexualidade feminina: estudo psicodinâmico do lesbianismo. Trad. Frederico Branco. 4. ed. São Paulo: IBRASA, 1978. FOREL et alii. Erotologia feminine. São Paulo: Edições e Publicações Brasil Ed., s/d. (Biblioteca de Estudos Sexuais) MOTT, Luiz. O lesbianismo no Brasil. Porto Alegre: Mercado Aberto, 1987. (Depoimentos, n. 16) PORTINARI, Denise B. O discurso da homossexualidade feminina. São Paulo: Brasiliense, 1989. WOLFF, Charlotte. Amor entre mulheres. Trad. Milton Persson. 2. ed. Rio de Janeiro: Nova Fronteira, 1973. (Experiência e Psicologia) 4. Títulos afins ALMEIDA, Ângela M. de. O gosto do pecado: casamento e sexualidade nos manuais de confessores dos séculos XVI e XVII. 2. ed. Rio de Janeiro: Rocco, 1993. ALMEIDA, Pedro. Desclandestinidade: um homossexual religioso conta sua história. São Paulo: Summus, 2001. Amor e sexualidade no Ocidente: edição especial da Revista L’Histoire/Seuil. Trad. Ana Mª Capovilla, Horacio Goulart e Suely Bastos. Porto Alegre: L&PM, 1992. ANDRÉ, Serge. A impostura perversa. Trad. Vera Ribeiro. Rio de Janeiro: Jorge Zahar, 1995. ANTUNES, José Leopoldo F. Medicina, leis e moral: pensamento médico e comportamento no Brasil (1870-1930). São Paulo: Ed. UNESP, 1999. ARIÈS, Philippe, BÉJIN, André (orgs.). Sexualidades ocidentais. Trad. Lígia A. Watanabe e Thereza Christina F. Stummer. 3. ed. São Paulo: Brasiliense, 1987. ARILHA, Margareth, RIDENTI, Sandra G. U., MEDRADO, Benedito (orgs.). Homens e masculinidades: outras palavras. São Paulo: ECOS/Ed. 34, 1998. ASPITARTE, Eduardo L. Ética sexual: masturbação, homossexualismo, relações pré-matrimoniais. São Paulo: Paulinas, 1991. BARBOSA, Regina Mª, PARKER, Ricahrd (orgs.). Sexualidades pelo avesso: direitos, identidades e poder. Rio de Janeiro: IMS/UERJ-Ed. 34, 1999. BLOCH, R. Howard. Misoginia medieval e a invenção do amor romântico ocidental. Trad. Cláudia Moraes. Rio de Janeiro: Ed. 34, 1995. BREMMER, Jan (org.). De Safo a Sade: momentos na história da sexualidade. Trad. Cid K. Moreira. Campinas: Papirus, 1995. CHAUÍ, Marilena. 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"Aids: Informação e Prevenção", Revista Mulher em Movimento, Sindicato dos Bancários/CUT/Bahia, nº1, abril-junho 1994;12-13 87. “De taturana a borboleta: a metamorfose de um antropólogo enrustido em militante gay”, Alteridades, UFBa, n.2, ano II, set-95, p.35-44 88. “Identidade (homo)sexual e a educação diferenciada”, in Dois Pontos: Teoria e Prática em Educação, Belo Horizonte, vol.4, n.31, abril 1997 89. "Minorias Sexuais", in Relatório da 2a Conferência Nacional de Direitos Humanos, Brasília, Câmara dos Deputados , 1998, p.97-123-126 90. "Aids: Antropologia versus Epidemia", Anais da 21a Reunião da Associação Brasileira de Antropologia 91. "O crime homofóbico: viado tem mais é que morrer!", Crime, Direito e Sociedade, Instituto de Criminologia, RJ, 1997 92. "Minorias Sexuais", in Relatório da 2a Conferência Nacional de Direitos Humanos, Brasília, Câmara dos Deputados , 1998, p.97-123-126 93. “A Igreja e a questão homossexual no Brasil”, Mandragora, SP, ano 5, n.5, 1999, p.37-41 94. “Homossexual também é ser humano: a construção da cidadania de gays, lésbicas e travestis no Brasil”, Universidade e Sociedade, Sindicato Nacional dos Docentes das Instituições de Ensino Superior, ano X, n.22, novembro 2000 (publicada em 2001) 95. “A Inquisição em São Paulo”, Boletim do Museu de Folclore, n.2, março 2001, p.31-43 96. “Os filhos da dissidência: o pecado nefando e sua nefanda matéria”, Tempo, Revista do Departamento de História da UFF, vol.6, n.11, julho 2001, p.189-204 97. Meu Menino Lindo: Cartas de Amor de um Frade Sodomita, Lisboa (1690) Revista Entretextos, n.4, dezembro 2000, p.95-117; Luso-Brazilian Review, 38 (Winter, 2001), 97-115. 98. “Homossexualidade: uma história tabu e uma cultura revolucionária”, ArtCultura, Revista do do NEHAC, Uberlândia, n.4, vol.4, 2002, p. 10-17. · RESENHAS BIBLIOGRÁFICAS 99. Homosexuality in Renaissance England, Alan Bray. nº 36, 1984:874- 875. 100. Homolexis: A Historical and Cultural Lexicon of Homosexuality , Wayne Dynes, nº 30, 1986:724-725. 101. Immodest Acts, Judith Brown. nº 39, 1987:224-225. 102. Sodomy and Pirate Tradition, B.R. Burg. nº 37, 1985:1379-1381 103. Sodomy and Pirate Tradition, New West Indians Review, (Amsterdam), nº 59, 1985:262-265. 104. Homossexualidade na Grécia Antiga, Orelha do Livro Homossexualidade na Grécia Antiga, Editora Nova Alexandria, SP, 1994 · ARTIGOS EM JORNAIS E REVISTAS 105. " A Aids na Filatelia internacional", Jornal do Selo, RJ, nº63, abril-maio 1991:9 106. "IV Centenário da Visitação do Santo Ofício ao Brasil", Diário Oficial Leitura, S. Paulo, 10 (10), julho 1991:1-3 107. 9- “A AIDS na filatelia internacional” Jornal do Selo, 1-6-1991 108. “Um preconceito tolerado pela Carta”, Análises e Informações Legislativas (Brasília), setembro l991: , Informativo INESC, 109. 500 anos de homossexualidade nas Américas”, Utopia (Porto Alegre), dezembro 1992.“ 110. “Homofobia tem cura!” Jornal de Sergipe, 17-4-1992 111. “A UFBa na luta contra a Aids” Jornal da UFBa, janeiro l993 112. “É possível praticar o sexo seguro?"- O Estado do Maranhão, 23-11-1993 113. "A Aids e a família", Bahia Hoje, Salvador, 1-12-1993 114. “Os Políticos e os homossexuais” Jornal do Brasil, 28-6-1993: 115. “Crise da Aids reprime bissexualidade tropicalista” Folha de São Paulo, 10-11-1993 116. “Mil casos de Aids na Bahia” Bahia Hoje, 13-1-1994 117. "Mil casos de Aids na Bahia", Bahia Hoje, 13-1-1994 118. "A sexualidade no Brasil colonial", Diário Oficial Leitura São Paulo, nº141, fevereiro 1994:6-8 119. "A alforria dos homossexuais", Linha direta, Publicação Semanal do Diretório Regional do Partido dos Trabalhadores, São Paulo, nº 169, 23-3-1994 120. "Em defesa das famílias de fato", Bahia Hoje, 25-3-1994 121. "Em defesa do ser homossexual", Jornal Nós Por Exemplo, julho-agosto 1994:7 122. "Dama de paus", Resenha do livro O Travesti no espelho da mulher, Tribuna da Bahia, 25-8-1994 123. "O último tabu, Revista Sui Generis, S. Paulo, novembro, 1994:34 124. Aids e a Família.” 15- Bahia Hoje, 1-12-1994 125. “Aids e a Família” Jornal do Brasil, 1-12-1994 126. “Carnaval, Aids e camisinha” 18- Bahia Hoje, 21-2-1994 127. amor que Mário de Andrade não ousava dizer o seu nome O Capital (Aracaju), 1-7-1994 128. “O complô do silêncio contra Zumbi”, Zero Hora, P.Alegre, 27-5-1995 129. “O paraíso gay”, Folha de S.Paulo, 6-7-1995 130. “Educação sexual e cidadania plena”, Tribuna da Bahia, 15-8-1995 131. “Os Gays e a visita do Papa”, Folha de S.Paulo, 6-9-1995 132. “Era Zumbi homossexual?”, A Notícia, Florianópolis, 27-9-1995 133. “A caminho do arco-íris”, Gazeta do Povo, Curitiba, 1-10-1995 134. “Violência sexual infanto-juvenil”, Jornal da Tarde, SP, 26-10-1995 135. “Homossexuais lutam pela cidadania” 21- Correio Brasiliense, 5-3-1995: 136. “Raízes da intolerância”, Diário da Manhã (Pelotas), 9-4-1995: 137. “Quilombismo anti-gay”, Folha de São Paulo, 21-5-1995: 138. “A Campanha da Fraternidade exclui os homossexuais” Jornal da Tarde (SP), 9-3-1995: 139. “A polêmica da camisinha” O Estado de São Paulo, 17-3-1995 140. “O mudo amor de Mário de Andrade” Jornal de Natal, 22-5-1995 141. “Educação sexual e cidadania plena” Tribuna da Bahia, 15-8-1995 142. “Revolução sexual”, Brazil Sex Magazine, n.13, out. 1996 143. “Educação sexual e cidadania plena”, Bahia Hoje, 13-4; Correio Popular, 4-4-1996 144. “A tribo dos rapazes de peito”, Folha de S.Paulo, 16-6--1996 145. “Gays e lésbicas na política de direitos humanos de FHC”, Folha de S.Paulo, 3-8-1996 146. “O Corifeu da Homofobia”, Folha de S.Paulo, 11-8-1996 147. “Orgulho Gay”, Estado de Minas, 27-6; Jornal da Manhã, 30-6-1996 148. “O pânico homofóbico”, Estado do Maranhão, 24-9-1996 149. “O pânico homofóbico”, Diário de Natal, 20-9-1996 150. “O pânico homofóbico”, Jornal da Cidade (Aracaju), 13-9-1996 151. “Um mundo, uma esperança”, Folha de S.Paulo, 1-12-1996 152. “Unidos na esperança”, Tribuna da Bahia, 2-12-1996 153. ”Só transo com homem de verdade “, Brazil Sex Magazine, S.Paulo, n.20, 4/1997 154. “O futuro da homossexualidade”, Tribuna da Bahia, 17/5/1997 155. “1897-1997: Centenário do Movimento Homossexual”, Diário de Cuiabá, 3/6/1997 156. “1897-1997: Centenário do Movimento Homossexual”, O Capital (Aracaju), 6/1997 157. “Ex-gays, existem?”, Brazil Sex Magazine, S.Paulo, n.23, 7/1997 158. “Reflexões sobre o prazer anal”, Brazil Sex Magazine, n.24, 8/1997 159. “Homoerotismo lésbico”, Brazil Sex Magazine, n.25, 9/1997 160. “Luiz Mott: Guerrilha moral” Jornal Opção, (Goiânia), 4/10/1997 161. “Os gays e o Papa”, Tribuna do Norte (Natal), 2/10/1997 162. "Estereótipos tupiniquins", Folha de S.Paulo, 18-1-1998 163. “Homoerotismo lésbico”, Brazil Sex Magazine, n.25, 9/1997 164. “Luiz Mott: Guerrilha moral” Jornal Opção, (Goiânia), 4/10/1997 165. "Pedofilia e Pederastia", Página Central, S.Paulo, n.5, 5 maio 1998 166. "Perfil sexual do Brasileiro", Página Central, S.Paulo, agosto 1998 167. "Brasil: campeão mundial de assassinatos de homossexuais", Página Central, S.Paulo, março 1998 168. "Estereótipos sexuais tupiniquins", Diário do Norte, 18-1-1998 169. "Assassinato de homossexuais no Brasil", Tribuna da Bahia, 22-1-1998 170. "O pânico homofóbico", jornal World News, n.13, abril 1998, SP 171. "Jesus era gay?", Página Central, julho 1998 172. "O maior tabu do mundo", Revista SuiGeneris, RJ n.33, maio 1998 173. "Um Herói do Brasil Imperial" Revista SuiGeneris, RJ ano IV n.38, 1998 174. "Travestis: anjos ou demônios?" Revista Brazil Sex Magazine, SP ano IV n. 38, 1998 175. "A Sexualidade dos Brasileiros; um mito tropical" Jornal Homo Sapiens, Salvador, ano 1, n.6, 1998. Disponível em:  http://luiz-mott.blogspot.com/2006/08/bibliografia-bsica-sobre_20.html

#bibliografia #homossexualidade #lgbt

[findasongblog]

Find A Song about a town where none of the actual ills of the world seem to exist

Mount Forel - Witney

Mount Forel have released the video for new single ‘Witney’, named after the constituency where failed Prime Minister David Cameron was previously MP. “We were recording our album in Witney”, says drummer Andrew Wakatsuki-Robinson. “It’s the most conservative place I’ve ever seen. We listed a bunch of things going sour right now – inequality, climate change, false is the new norm and air quality, then wrote a song about a town where none of these ills seem to exist; our own little Witney, if you will”. (press release)

via Musosoup

#music #music blog #indie music #alternative music #dream pop #Mount Forel #Witney #modern times #indie #alternative #find a song

[katefullergecko]

Reasons why Rory Gilmores ending will forever piss me off

All of the career paths of people who worked for the Yale Daily News according to the wikipedia page: 

Politics[

edit

]

Lanny Davis, advisor to President Clinton, author and public relations expert

David Gergen, advisor to four Presidents and U.S. News and World Report editor-at-large

Reed Hundt, former FCC chairman

Joseph Lieberman, US Senator from Connecticut, 2000 Vice Presidential nominee and 2004 presidential candidate

Steve Mnuchin, incumbent Secretary of Treasury under the Trump Administration

Robert D. Orr, former governor of Indiana

David A. Pepper, Ohio politician

Samantha Power, former United States Ambassador to the United Nations

Andrew Romanoff, former Colorado Speaker of the House, candidate for Democratic nomination to US Senate

Sargent Shriver, first Peace Corps director

Potter Stewart, former Supreme Court associate justice

Stuart Symington, former US senator from Missouri

Strobe Talbott, president of the Brookings Institution and former Deputy Secretary of State under President Clinton

Garry Trudeau, cartoonist and creator of Doonesbury, which first appeared in the News' pages as Bull Tales

Journalism[

edit

]

Pete Axthelm, sportswriter

Michael Barbaro, politics reporter, The New York Times

Ellen Barry, Pulitzer Prize–winning Moscow correspondent, The New York Times

Melinda Beck, Marketplace editor and columnist for The Wall Street Journal

Alex Berenson, business reporter for The New York Times

Christopher Buckley, novelist and writer

Kevin P. Buckley, Vietnam war correspondent, writer, Executive Editor, Playboy

William F. Buckley, Jr., founder of National Review

Meghan Clyne is a Washington, D.C.-based writer, recently for The Weekly Standard

Carol Crotta, writer for Houzz, Apparel News, and the LA Times

Michael Crowley, senior editor, New Republic

Charles Duhigg, business reporter for The New York Times

Charles Forelle, European correspondent for The Wall Street Journal

Dan Froomkin, Washington Editor of TheIntercept.com

Zack O'Malley Greenburg, Forbes staff writer and author of Jay-Z biography Empire State of Mind

Lloyd Grove, freelance writer, former gossip columnist for the New York Daily News and The Washington Post

Briton Hadden, co-founder of Time

R. Thomas Herman, reporter and tax columnist for The Wall Street Journal

John Hersey, Pulitzer Prize–winning journalist and author

Robert G. Kaiser, associate editor of The Washington Post

Matthew Kaminski, editorial board member, The Wall Street Journal

David Leonhardt, Pulitzer Prize–winning economics columnist, The New York Times

Joanne Lipman, founding Editor-in-Chief of Conde Nast Portfolio magazine and former Deputy Managing Editor of The Wall Street Journal.[12]

Adam Liptak, supreme court correspondent for The New York Times

Henry Luce, co-founder of Time

Dana Milbank, White House correspondent for The Washington Post

Jodi Rudoren, Jerusalem bureau chief for The New York Times

Robert Semple, Pulitzer Prize winner and member of The New York Times editorial board

Paul Steiger, Editor-in-Chief of "ProPublica," former managing editor of The Wall Street Journal

John Tierney, columnist for The New York Times

Calvin Trillin, columnist and humorist

Jacob Weisberg, editor of Slate

Other[

edit

]

Kingman Brewster, former president of Yale University and ambassador to the Court of St. James's

Lan Samantha Chang, director of Iowa Writers' Workshop

Theo Epstein, Chicago Cubs general manager

Thayer Hobson, chairman of William Morrow and Company[13]

Eli Jacobs, Wall Street investor, former owner of the Baltimore Orioles (1989–1993)[14]

Paul Mellon, philanthropist

John E. Pepper, Jr., chairman of the Walt Disney Company and CEO of the National Underground Railroad Freedom Center, former CEO and chairman of Procter & Gamble, and Yale's former vice president of finance and administration and senior fellow of the Yale Corporation

Samantha Power

Gaddis Smith, professor emeritus of history at Yale

Lyman Spitzer, theoretical physicist

Daniel Yergin, Pulitzer Prize-winning author and economic researcher

#gilmore girls #gilmore girls revival

[teenvag]

Ella Mai – “Ready” (EP)

English songstress and DJ Mustard‘s 10 Summers-signee, Ella Mai debuts new solo EP titled, “Ready.”  The British artist is currently on tour with Kehlani‘s “SWEETSEXYSAVAGE World Tour.”

Stream “Ready” below.

Tour Dates:

3/4 – Institute – Birmingham, UK 3/5 – KOKO – London, UK 3/6 – KOKO – London, UK 3/8 – O2 Shepherd’s Bush Empire – London, UK 3/11 – Nalen – Parkteatret 3/12 – Amager Bio – Copenhagen, Denmark 3/14 – Astra – Berlin, Germany 3/15 – Proxima – Warsaw, Poland 3/17 – Grelle Forelle – Vienna, Austria 3/18 – Technikum – Munich, Germany 3/19 – Kaufleuten – Zurich, Switzerland 3/21 – Le Trianon – Paris, France 3/22 – Ancienne Belgique – Brussels, Belgium 3/23 – Melkweg – Amsterdam, Netherlands 3/24 – Gibson – Frankfurt, Germany 3/26 – Essigfabrik – Cologne, Germany 3/27 – Uebel & Gefahrlich – Hamburg, Germany 4/1 – Union Transfer – Philadelphia, PA 4/2 – The Fillmore – Washington, DC 4/3 – Rams Head Live – Baltimore, MD 4/5 – Cone Denim Entertainment Center – Greensboro, NC 4/6 – Fillmore – Charlotte, NC 4/7 – Tabernacle – Atlanta, GA 4/9 – The Plaza Live – Orlando, FL 4/11 – The Orpheum – Tampa, FL 4/12 – Culture Room – Miami, FL 4/18 – Marquee Theatre – Phoenix, AZ 4/19 – Rialto Theatre – Tucson, AZ 4/20 – Brooklyn Bowl – Las Vegas, NV 4/24 – The Catalyst – Santa Cruz, CA 4/25 – Ace of Spades -Sacramento, CA 4/27 – Jub Jub’s – Reno, NV 4/28 – WOW Hall – Eugene, OR 4/29 – Showbox SoDo – Seattle, WA 5/1 – Vogue Theatre – Vancouver, Canada 5/2 – Crystal Ballroom – Portland, OR 5/4 – The Depot – Salt Lake City, UT 5/6 – Music Hall Minneapolis – Minneapolis, MN 5/7 – Concord Music Hall – Chicago, IL 5/8 – The Intersection – Grand Rapids, MI 5/10 – Saint Andrews Hall – Detroit, MI 5/11 – Mercury Ballroom – Louisville, KY 5/12 – Marathon Music Works – Nashville, TN 5/13 – Ready Room – St. Louis, MO 5/15 – The Granada – Lawrence, KS 5/16 – The Bourbon Theater – Lincoln, NE 5/17 – Ogden Theatre – Denver, CO 5/19 – Southside Music Hall – Dallas, TX 5/20 – Republic – New Orleans, LA 5/21 – The Ballroom at Warehouse Live – Houston, TX 5/23 – The Varsity Theatre – Baton Rouge, LA 5/24 – Emo’s – Austin, TX 5/25 – Alamo City Music Hall – San Antonio, TX 5/31 – The National – Richmond, VA 6/1 – The NorVa – Norfolk, VA 6/17 – Bill Graham Civic Auditorium – San Francisco, CA 6/18 – The Novo – Los Angeles, CA

The post Ella Mai – “Ready” (EP) appeared first on RnBass.

from WordPress http://ift.tt/2m6xxep via r&b music

#New Music #RnBass Music #british #dj mustard #ella mai #England #english #kehlani #london #tour #uk

[dustedmagazine]

Slept Ons: 2023

Reverend Kristin Michael Hayter

If you write for Dusted, you listen to music all the time and you try, at least within your general area of interest, to stay current with what’s current. Ask any of our significant others, and they’ll say we listen to too much music, to which we inevitably reply “What’s that, this ‘too much’ you speak of?” We listen to music while we’re eating, while we’re working, while we’re exercising, while we’re driving from one place to another, even while we’re brushing our teeth sometimes; though, admittedly, the sound quality is not that great in the bathroom.

Even so, we miss things. Here, in what has become an annual tradition, we revisit some of the albums that slipped away in one fashion or another, the ones that we kept putting off until it was too late, the ones we somehow didn’t catch wind of until well into January, the ones we discovered tardily on other people’s lists and year-end podcasts and radio shows. So here are our late finds, a favorite or two each that we never got the chance to write about. Fortunately, unlike bread and fresh fruit and bunches of cilantro, albums don’t go bad if you let them sit for a while.

Die Enttäuschung und Alexander Von Schlippenbach — Monk’s Casino Live At Au Topsi Pohl (Two Nineteen)

This record wasn’t so much slept on as patiently sleuthed. Die Enttäuschung, the long-running German quartet (their name translates as The Disappointment, an appellation that says more about their sense of humor than the quality of their ever-buoyant reimagining of bebop and early free jazz) started selling it at gigs in the spring of 2023. I bided my time, and when I made it to Berlin last fall, scoring a copy was on my agenda. To this day, the record and the internet are near strangers; while you can buy it from Bandcamp, there’s no download, streaming or videos. So, you’ll have to just take it from me that Die Enttäuschung’s reunion with now-octogenarian pianist Alexander von Schlippenbach will take wrinkles off your brow. The first time that these musicians recorded together as Monk’s Casino, back in 2005, they performed every one of Thelonious Monk’s compositions over three CDs; pith was essential. The repertoire hasn’t changed this time, but the approach is looser. Crammed into the intimate confines of the now-shuttered Au Topsi Pohl just as Omicron started ruining parties, the five musicians goose the tempos, spike the solos with impertinence, and veer around Monk’s sharp angles with a combination of intimate familiarity and belt-busting abandon.

Bill Meyer

Reverend Kristin Michael Hayter — SAVED! (Perpetual Flame Ministries)

Not slept on so much as avoided— and why, at this point I am not entirely sure. When I saw Kristin Hayter perform under her previous Lingua Ignota moniker back in December of 2022, she opened with a set of devotional songs on piano, a variety of metallic objects set and chains draped across the instrument’s interior string works. It was extraordinary, and SAVED! features the same basic set of raw, austere elements: that prepared piano, Hayter’s remarkable voice and the problematics of faith. The avoidance may stem from my own fraught relations to the sort of grim Protestantism Hayter reimagines; I spend some time around fire-and-brimstone Baptism as a child, and it left a mark on me. She wove some of that language and those textures into the excellent Lingua Ignota record Sinner Get Ready, but there they were much more symbolic, and largely couched in specific fundamentalisms (Amish and Mennonite) that distanced them somewhat. The sounds and spiritual gestures on SAVED! are a good deal more familiar to me, and they haunt. Likely the haunting is the point. Certainly “All of My Friends Are Going to Hell” and “I Know His Blood Can Make Me Whole” smolder and then burn with varieties of hellfire I have smelled before. One can also hear those songs more metaphorically, and “I Will Be with You Always” (the best thing on the record) is replete with images and intensities that call to multiple levels of meaning, simultaneously and sublimely. SAVED! is a hard record for me to listen to, and that’s why I have come, somewhat belatedly, to prize it so highly.

Jonathan Shaw

Illusion of Safety — Pastoral (Korm Plastics)

Daniel Burke has been carefully and consistently nurturing his Illusion of Safety project for 40 years, and I’ve been embarrassingly ignorant of the output until now. Burke released multiple audio artifacts in 2023, including a 40th anniversary ten-cassette box set, so choosing a single album to write about for the Slept On column was a daunting undertaking. Pastoral is unique in that it shows off a more delicate and expansive side of the Illusion of Safety oeuvre. It’s also one of the few music-focused objects that the stalwart Korm Plastics label has released in years; the imprint focuses on the written word these days. Sonically, Burke has established a series of vignettes that follow a similar pattern. The music flows from short, sharp attacks into lengthy sustained quietude. Burke unleashes his jarring, frantic salvos both percussively and synthetically, and these brief but unsettling periods morph into slowly churning drone swarms. Given that this is just one example of Burke’s sonic vernacular, I’m excited to hear more. Thankfully, when it comes to Illusion of Safety, I’ve been a veritable Rip Van Winkle.

Bryon Hayes

Malla — Fresko (Solina)

So slept on was Malla Malmivaara’s second solo album that even the normally reliable Beehype missed it, but even if you did happen to notice its inclusion on my midyear list, overstating how well-crafted and immersive Fresko’s dance-pop tracks are is hard to do. It makes sense given she’s better known for her acting career, but Malla’s been in the Finnish music game for a long time, too — first in the short-lived mid-aughts house trio Elisabeth Underground, then as herself with 2019’s “Sabrina” single (which got a Jori Hulkkonen remix, a guy who once redid M83) that ended up paving the way for her self-titled 2021 debut full-length. Despite using similar synth arpeggios and a healthy dose of vocal reverb as she did on Malla, Fresko is a little bit darker, moodier, more down in it. Lead single “Moi” (“hi” in English) tells the tale, its perfectly crafted video full of young Rolf Ekroth models doing things like looking impossibly cool in ridiculous outfits and having fashion shows with ATVs in snowy back alley Helsinki parking lots are a perfect marriage of audio and video, images and a melody burned in my brain the moment I saw it. It is very much a dance record flush with tech-house tweaks and no grander artistic ambitions, but Malla’s barely crested 40; now that she’s pledged more time to her music career, it’s entirely possible Fresko is but a warmup for something bolder — and even if it’s not, you could do much worse than a third album full of body movers like this. Hi is right.

Patrick Masterson

Kevin Richard Martin – Black (Intercranial)

Ostensibly a eulogy to Amy Winehouse, Kevin Richard Martin’s Black is a deeply humane expression of isolation, loss and grief. Built from the ground up, the bass deep and warm, swathes of glacial arpeggiated synths and beats that hint at the club. Notes echo and ripple away to create silhouettes of solitude, a tangible manifestation of absence. Despite the deep weight of his music, Martin imbues Black with an incredible delicacy. His abstract architecture allows the mind to roam and the listener to connect with emotional truths. It’s the balance Martin finds between the particular and universal that gives Black it’s power. In the strutting bassline of “Camden Crawling” smeared with narco/alcoholic fuzz, the looming threat of “Blake’s Shadow” and the bleary saxophone in “Belgrade Meltdown” there are the faintest echoes of Winehouse’s sound which emerge from the depths of Martin’s echo chambers. A work of terrible sadness, great beauty, empathy and comfort.

Andrew Forell

Derek Monypeny — Cibola (2182 Recording Company)

Cibola eased into the world as 2022 turned into 2023, but it took me nearly a year to get to it. Monypeny is a confirmed westerner, having lived in Arizona, Oregon, and (currently) the California desert, and an awareness of both the wrongfulness and the good fortune of living in that neck of the woods infuses Cibola, which is named for one of the American southwest’s legendary cities of gold (helpful hint; if you ever encounter a conquistador looking for gold, tell them it’s somewhere else). Monypeny alternates between guitar, shahi baaja, and on electric autoharp the LP’s seven tracks, and Kevin Corcoran contributes time-stopping metal percussion to one of them. The music likewise toggles between stark evocations of space and swirling submersions into nether states. In either mode, Monypeny effectively suggests the gorgeous immensity and pitiless history of the land around him.

Bill Meyer

The Sundae Painters — S-T (Flying Nun)

One minute, The Sundae Painters are churning wild screes of noisy guitar, the next they construct airy psychedelic pop songs of a rare unstudied grace. The band is a super group of sorts — Paul Kean and Kaye Woodward of the Bats, Alex Bathgate of the Tall Dwarfs and the late Hamish Kilgour of the Clean — convening in loose-limbed, joyful mayhem in songs that glisten and shimmer and roar. “Hollow Way” roils thick, muddy textures of drone up from the bottom, the slippery bent notes of sitar (that’s Bathgate) and Woodward’s diaphanous vocals floating free of a visceral murk. “Aversion” lets unhinged guitar shards fly over the thump of grounding drums as Kilgour chants inscrutable poetry. The two HAP tracks, I and II, stretch out in locked-in, psychotropic grooves, relentless forward motion somehow dissolving into an endless ecstatic now. This full-length, sadly the only one we’ll ever have from the Sundae Painters now that Kilgour is gone, is as good as anything that its esteemed participants ever did in their more famous bands, and that’s saying a lot.

Jennifer Kelly

U SCO — Catchin’ Heat (Self Released)

Here’s the extent of what I currently know: Someone I have on Facebook posted a link to it as one of his favorite records of the year, and someone I don’t know responded that they bought a copy of the cassette before the first track even finished. U SCO are Jon Scheid (bass), Ryan Miller (guitar), and Phil Cleary (Drums) and they are from and/or based in Portland Oregon. According to Discogs and Bandcamp Catchin’ Heat is the first thing they’ve released since 2016. That’s it! I started listened to this with the same box-checking, due diligence energy I tend to have for the dozen or so records I hear about one way or another after I’ve already done my year-end writing; most of them, every year, I don’t even make it through one play (the fatigue has fully set in by this point in the process). But sure enough before the end of that first track, I knew this was going to have to be the record I slept on. It’s perfectly structured, with extra-long, absolute blowouts beginning and ending the record, the second and second-last tracks being the two shortest and the only moments of relative calm, and the middle two making up a strong core that both brings in some elements not found elsewhere on Catchin’ Heat (the vocals on “trrrem”) and is just the most straightforward version of the absolute burners U SCO can clearly summon up on command (“woe dimension”). As great and arresting as that opening track is, though, the closing “abyssal hymn” might be the real highlight here, bringing in clarinet and saxophone to add a whole new layer of skronk to what they’re cooking. I’ve listened to this record about 10 times in a couple of days, and they deserve to sell out of that run of cassettes.

Ian Mathers

#dusted magazine #yearend 2023 #slept ons #Die Enttäuschung und Alexander Von Schlippenbach #bill meyer #Reverend Kristin Michael Hayter #jonathan shaw #illusion of safety #bryon hayes #malla #patrick masterson #kevin richard martin #andrew forell #derek monypeny #jennifer kelly #the sundae painters #Ian mathers #U SCO

[dustedmagazine]

Dust Volume 10, Number 1

Finnoguns Wake

Wow, it’s been 10 years since we started Dust, our monthly collection of short reviews. During that time, we’ve covered hundreds of records that might have otherwise slipped through the cracks — from obscure CD-Rs handed off at live shows, to long-lost reissues dug out of attics and basements, to the maniacally focused output of the micro-labels we love to even, occasionally, semi-major releases.  Our conclusion: It may be hard times for music criticism, especially the paid variety, but it’s an excellent era for listening to music.  Here’s what we’ve uncovered to kick off the next decade.  Contributors include Bill Meyer, Jennifer Kelly, Ian Mathers, Andrew Forell, Justin Cober-Lake, Bryon Hayes, Patrick Masterson, Alex Johnson and Christian Carey.

Dave Bayles Trio — Live At The Uptowner (Calligram)

Good things are happening around Milwaukee. That’s where Dave Bayles practices his crafts as a jazz drummer and educator (actually, he teaches in Kenosha). This recording documents his foray into band leadership, which was hosted by the Uptowner, a neighborhood tap that’s been serving drinks since the 1880s. The recorded evidence suggests that despite it being the kind of place where you can holler at the Packers on a screen, when the music’s playing, people listen. Bayle, trumpeter Russ Johnson and bassist Clay Schaub justify their attention throughout this collection of mostly original, bop-aligned themes, which they execute with a little early-Ornette flexibility and healthy servings of direct, swinging lyricism. Johnson in particular does yeoman’s work, drawing out nuanced, patient solos that are likely to induce you to forget to open your mouth, just like the audience on this entirely ingratiating live recording.

Bill Meyer

Cy Dune — Against Face (Lightning Studios)

Very late on Seth Olinsky (from Akron/Family)’s dance/noise/punk experiment, but holy wow, what a belching, squelching, head-whipping sharp turn it is. If Akron/Family took gentle folk songs right off the rails, Cy Dune starts in chaos and ends in angsty cyber-age freefall. The trip typically takes one or two minutes, though the unironically named “Don’t Waste My Time” extends for three. Within that time frame, bass note bobble, snares snap, guitars twist and Olinsky shouts in terse syncopation, breaking occasionally for non-Jude-like “na-na-na-nahs.” “Against Face” wallops hard and fast, pounding toms tethering wild squalls of guitar. “No fun, no fun, no fun,” howls Olinsky periodically, but it definitely is. Fun.

Jennifer Kelly

Dual Monitor — HARD19 (Hardline Sounds)

Say what you might about Rinse FM, the station’s leadership (read: they of the coffers) continues to do a service to the UK’s ecosystem of independent radio by way of keeping afloat other institutions. One such example was its buyout and relaunch of the old pirate station Kool FM; another was its unshuttering of beloved Bristol station SWU.FM last April. Part of the latter’s reinvigorated lineup is the duo of Fliss Mayo and Zebb Dempster, aka Dual Monitor, and their latest release caught my ear for its attention both to percussion amid propulsion and to its high-grade bass weight. “Level Up” might be the winner for me, but the pitch-black plunge of “Left/Right” and “Quattros Oxide” are grooves to behold, too. The airy D&B twist of “Switch It” is also unmissable, a lovely bit of work to close out the four-tracker. Good for a run of 200 from a label worth watching, it looks like you’re still not too late if you do a little running of your own to go grab it.

Patrick Masterson

Eluvium — (Whirring Marvels In) Consensus Reality (Temporary Residence Limited)

Matthew Cooper has made and released plenty of music since 2016’s False Readings On (much of it under the Eluvium name) but in some ways the compact, masterful (Whirring Marvels In) Consensus Reality feels like the first capital A Eluvium Album since that one. As with 2007’s Copia, it leans into the orchestral side of Cooper’s work (this time remotely collaborating with various musicians over the last couple of years), resulting in everything from the phantasmagorical choral/vocal work on “Void Manifest” and the dense arpeggios of “Vibration Consensus Reality (for Spectral Multiband Resonator)” to the solo piano miniature of “Clockwork Fables” and the whirling swells of the closing “Endless Flower.” At this point Cooper’s work is often too varied and colorful to be described as drone, and too active and involving to really be ambient; it’s just Eluvium music, and it’s wonderful to have more of it.

Ian Mathers

Finnoguns Wake —Stay Young EP (What’s Your Rupture)

Stay Young is a debut four-track EP from Australian songwriters Shogun and his mate Finn Berzin who rejoice in the name Finnoguns Wake. You’ll find no knotty linguistic experiments but for lovers of energetically melodic indie guitar bands, there are joys to be had. The pair, who share vocals, guitar and lyrics, meet somewhere between the concise attack of Shogun’s former band Royal Headache and the anthemic end of Britpop. The first three songs zip by with guitars abuzz, the rhythm section driving hard and the voices high in the mix. “Blue Sky” manages to feel satisfyingly loose atop its rigid drumbeat. “So Nice” reconfigures the riff of Husker Dü’s “Terms of Psychic Warfare” to good effect, with Berzin sounding tonally like young Dylan. “Lovers All” moves along like a rougher version of The Buzzcocks. The one misstep “Strawberry Avalanche” aims for Britpop grandeur with the misguided self-belief of late Oasis. Shogun takes his “melting ice cream” metaphors as seriously as Liam treats even his most absurd attempts to top big brother. Thing is you can picture the song working for an audience, so hats off. Stay Young is a promising introduction from a band that feels it like has more and better coming.

Andrew Forell

Lamin Fofana — Lamin Fofana and the Doudou Ndiaye Rose Family (Honest Jon’s)

New York-based producer, DJ and visual artist Lamin Fofana had a big 2023, with two releases on the famed Honest Jon’s imprint and a third for the illustrious Trilogy Tapes in addition to a Resident Advisor mix. That second Honest Jon’s album came in the form of this collaboration in early December with the Doudou Ndiaye Rose Family, an mbalax group of some notoriety in Senegal and descendents of the Dakar drummer, composer and band leader best known as master of the sabar drum family. It fits, though the exact nature of the collaboration is unclear — this is very much a percussion workout of the highest order with only a deft tinge of Fofana’s electronics providing light, cosmic buoyancy to the music, a quartet of meditations ranging between four and 12 minutes long. The most frenetic of them, at least for a spell, is “Bench Mi Mode III: Spectrum,” but even that one has its share of field recordings to lend a more immersive, consuming quality to the listen than pure rhythmic impulse. If you’re unfamiliar with any of the parties involved, you’ll thank yourself in short order for giving this a go.

Patrick Masterson

Fortunati Durutti Marinetti — Eight Waves In Search Of An Ocean (Quindi (ITA) / Soft Abuse (USA))

Dan Colussi’s latest release under the Fortunato Durutti Marinetti moniker, Eight Waves In Search Of An Ocean, is eminently listenable, engaging and, if paid proper attention, engrossing—although not always comfortably. His vocals never stray far from sprechgesang and the instrumentation tends towards warped mid-tempo. There are bright washes of keys; flute and string inflections; careful, elastic bass lines with steady, shoulder-danceable drum patterns. It’s easy to be lulled by the rosy, if somewhat baroque settings, until an ascendant burst of synthesizer or dramatic pause intrudes to break the spell. You may find yourself unsure, rewinding to find out what you might’ve just missed. In this way, the experience of the album can feel akin to a single, continuous performance with brief variations, rather than a straightforward collection of songs.

One such variation, adding perhaps the most friction to Eight Waves… is “Smash Your Head Against the Wall,” which, while not concussive, does make your ears perk up at its clawing guitar chords and the stark imagery that Colussi nearly spits out: “it’s a nest of vipers pissing on each other…and anyone else who’s around/would love to fuck you over if they can/and this community’s request/for the presumed benefit of all/is smash your head against the wall…a delta of corrosion/disorder/and decomposition.” I quote at some length, but there’s plenty more. Though a sonic departure from its surroundings — think Bill Callahan’s “Diamond Dancer” dropped into Destroyer’s Kaputt — “Smash Your Head…” is emblematic of a record that rewards the delayering effect of multiple listens.

Alex Johnson

Ghost Marrow — earth + death (The Garrote)

There is a patience to the songs on Aurielle Zeitler’s third record as Ghost Marrow, but it’s the patience of a predator stalking its prey. All seven songs here started as improvisations on the Juno-60 synthesizer, but by the time they’ve been arranged into these shapes (almost entirely by Zeitler, who adds effects and guitar as well as her voice) they feel focused and intent on the listener. The Bladerunner-esque sweep of “mother of the end” and the increasingly un-gentle blasts of static breaking into the title track both land somewhere between unsettling menace and a kind of holy severity. By the time the closing, ten-minute “microcosm” erupts into clouds of guitar and distant screaming, suddenly sounding a lot more like Sunn O)))’s Black One than the rest of the LP might make you expect, it’s clear that Ghost Marrow is intent on honoring both sides of her title.

Ian Mathers

Brian Harnetty — The Workbench (Winesap)

Composer Brian Harnetty has created memorable work by digging into cultural archives. Shawnee, Ohio (2019) uncovered layers of memory from Appalachia, while last year's Words and Silences drew on recordings of Thomas Merton for sustained contemplation. For his brief EP The Workbench, he takes a different approach, mining deeply personal moments for a individual revelation. He begins with items that his father had repaired — a watch, a radio — and adds in voicemail messages, all in conversation with an evocative quartet. Eventually he ends the piece with his father's breathing as he sleeps in hospice, a quiet outro that finds mournful but understated peace.

The 11-minute track moves so smoothly that singling out key moments almost misses the point; it's a single movement to honor a relationship while reflecting on the brevity of time and the artifacts that persist amid mortality. When a repaired music box overtakes the musicians for the final lift, it feels natural, because of course the reparations done in life will outshine our ability to articulate their meaning. Harnetty's compositions before that never falter. His use of bass clarinet (here played by Ford Fourqurean) provides the essential gravity. Violin and cello weave through the piece with his own piano lightening the composition as needed. A reworked instrumental track allows for a wordless exploration of the same topics. An accompanying video covers the workbench itself, the artifacts presented in themselves, a tangible and visual part of the legacy. It's a short statement from Harnetty but one that lasts.

Justin Cober-Lake

 Nailah Hunter — Lovegaze (Fat Possum)

Nailah Hunter plays lots of instruments on this lush and twilit debut full-length, but two define its sound. Her voice, to start, is cool and effortless and strong, prone to flowery embellishments and capable of soaring crescendos without strain. She might remind you of Sade, in the poised, unruffled quiet bits, but she can belt, too, filling cavernous sonic spaces with bright untethered flourishes. The other instrument is the harp, more common certainly in classical music but not as unusual as it once was in rock and soul. But unlike Joanna Newsom who laces her tunes with folk-echoing arpeggios or Mary Lattimore who finds a celestial drone, Hunter employs the harp to scatter pizzicato shards of crystal in velvety nocturnal textures. The harp litters her moody atmospheres with star light, cold, glimmering pinpoints of sound. It contrasts in a striking way with the warmth of her voice and the pulsing, irregular syncopations of dance-like drums. These are oddly shaped elements that ought not to fit as snugly or as wondrously as they do, but they do.

Jennifer Kelly

Ernesto Diaz Infante — Bats In The Lavender Sky (Ramble)

Bay Area guitarist Ernesto Diaz Infante has always been a restless sort. Nonetheless, this album feels like a bit of a curve ball, albeit a welcome one. The improviser ensconced himself in a San Francisco recording facility named Next Door To The Jefferson Airplane Studios, but did not take the trip you might expect given a choice like that. Instead of a west coast psychedelic vibe, he has gone natural, nocturnal and New Zealand-ish. Put another way, this album mines territory similar to Roy Montgomery’s mid- to late-1990s work, with a little bit of user-friendly Mego thrown in. Repetition leads to contemplation; this music won’t move you at bat velocity, but if you happen to be floating on a slow-moving air mattress while they fly overhead, it’d make just the right soundtrack.

Bill Meyer

Joy Orbison — “Flight FM” (XL)

flight fm by TOSS PORTAL

Getting married and having a kid really seems to have opened Peter O’Grady up over the past few years. After starting his own label in 2017, he came out with an album (2021’s Still Slipping, Vol. 1), has dropped a handful of singles exploring various strains of UK dance music, and even mined the archive of his glory days for a comp of loosies long thought lost or forgotten (last year’s Archive 09-10). Far from the reserved, elusive producer he broke so big with “Hyph Mngo” as, Joy O has instead blossomed into an approachable, seemingly well-adjusted guy who just wants you to enjoy music the way he does — and what better way to do that than with this heavyweight cruiser that rolls as deep as his best material from the SunkLo days. Concocted in a car on the way to a festival, it took some badgering from Four Tet (who has some unreleased work of his own to wrap up, while we’re on the subject) for him to finish it… but thank goodness he did. The best part about this is that we skipped the Aliasizm radio rip and the endless speculation on what it was called and got straight to the release. A simple, speaker-wrecking ode to the pirate station from which it takes its name, you couldn’t start 2024 (or 2012) any better. Variation on an oft-repeated refrain lately: It’s a shame Fact isn’t around to report on it.

Patrick Masterson

Matt Krefting — Finer Points (Open Mouth)

Finer Points by Matt Krefting

Students of the northeastern U.S. freak scene know Matt Krefting for his endeavors both written and aural. His critical ear has spilled ink across the pages of The Wire magazine and Byron Coley’s Bull Tongue Review, and his sonic exploits harken back to the turn of the millennium with the studied quietude of Son of Earth. These days, Krefting makes surprisingly musical constructions using cassette decks and other tape-adjacent curios, coaxing murky melodies from spools of ferric material. Finer Points comprises layers of dusky fuzz, sandblasted environments and warmly lit instrumental passages. A lonely organ features prominently across many tracks, its doleful moan warbling slightly as Krefting’s malfunctioning tape deck motors strain to maintain a constant speed. Standing out from the nocturnal scenery is “A Double Request,” in which multiple plucked string instruments coalesce into a swampy dirge. There’s a sense of evolution at play as the parts cycle through, forming melodies that shift and tumble before falling apart entirely. This is a common theme throughout Finer Points: Krefting subtly and gradually alters the scenery. The slow unfolding creates an intoxicating glow that permeates the entire experience.

Bryon Hayes

Thomas K. J. Mejer / Uneven Same — Saxophone Quartets 1 2 5 6 7 (Wide Ear)

Uneven Same – Saxophone Quartets by Thomas K.J. Mejer

If you’ve heard of Thomas Mejer, it’s most likely because he is a rare specialist in the contrabass saxophone. In that capacity, he’s contributed tonal heft and textural complexity to the music of Phill Niblock and Keefe Jackson. But for this album, which was mostly performed by the all-female saxophone quartet, Uneven Same, he applies a nuanced comprehension of the potentialities of other saxes founded upon the advances made by improvisers to composed music that operates that is carefully textured and glides more than it grooves. Manuela Villiger, Eva-Marta Karbacher, Vera Wahl and Silke Strahl realize his long, layered lines and carefully buffed sonorities with exquisite poise. Mejer also uses overdubbing to realize four more pieces, all part of a series entitled “Resonating Voids,” on his own. By turns rough, thick, and aquatic, its elemental earthiness balances Uneven Same’s more airborne performances.

Bill Meyer

Melted Men — Jaw Guzzi (Feeding Tube)

Melted Men are an enigma that no amount of online sleuthing can crack. The only information about them online is their Discogs page and a live show review from 1997. In that bizarre performance, Melted Men was a duo from Athens, Georgia. Apparently now, 25 years later, they’ve swollen their ranks, even roping in members from as far afield as continental Europe. With Jaw Guzzi, the anonymous outfit offers up a pair of side-long audio head trips. Warped, heat haze-distorted cassette detritus sidles up to blown out exotica and disjointed Martian funk beats. There’s a hefty dose of collage on display, with mutant vignettes that serve as rickety bridges between more tuneful passages. It’s these doses of song form that will extract bobbing heads and wobbly bottoms from the most adventurous listeners. Melted Men imagine a world where the jump cut jumble of Seymour Glass intersects the ethno-punk chaos of Sun City Girls and the junk shop proto-industrial bleat of early Wolf Eyes. It’s a world that this writer wouldn’t mind visiting frequently.     

(Note: Melted Men are such a mysterious bunch that they’ve asked Feeding Tube not to post any audio on Bandcamp or elsewhere on the internet.)

Bryon Hayes

Nehan — An Evening with Nehan (Drag City)

Nehan is all-star Japanese noise/drone/experimental ensemble led by Masaki Batoh and drawing members from Ghost, Acid Mothers Temple and the Silence. The disc in question presents two side-long improvisations which use as a starting point the 9hz brain wave emitted from a test subject. You can get a sense in the video above of how the experiment worked, as a dancer’s synaptic impulses feed into an elaborate synthesizer set up, turning whatever was in her head into long, pulsing drones. It’s a bit austere in its pure form, but the record elaborates, adding percussion, especially gongs and bells, and a wizened-kazoo-like wind instrument, something that might be a bagpipe and other sounds. It’s not entirely clear how much of what you hear comes from the brain waves and how much comes from the free interplay of the musicians, but maybe it doesn’t matter. The result is slow-moving and mysterious, with dramatic surges of drums and wandering threads of blown sound. The human brain is a notoriously mysterious organ but who’d have thought it could general all this instrumental turmoil? If you’d told me this music was sourced from sun storms or tidal currents or tectonic shifts, I’d have believed that, too.

Jennifer Kelly

Colin Newman and Malka Spiegal—Bastard (Swim ~)

Colin Newman’s Bastard created quite a stir in 1997 when first released. This nine-track, all-instrumental album, leaned heavily on a still mostly underground drum ‘n bass aesthetic and was a far cry from Wire’s terse, melodic outbursts. It also was Newman’s first project after Wire went on hiatus, billed as a solo effort, but actually a close collaboration with his partner Malka Spiegel. This expanded reissue gives Spiegel due credit and fills out the context with 12 additional contemporaneous tracks.

The original album still sounds fairly austere, with clean, clipped drum cadences, locked-tight guitar loops and abstract surges of synthesized sound. The amusingly named “Slowfast (falling down the stairs with a drumkit)” allows the use of distorted guitar, but only in quick, percussive blots. The guitar sound becomes an element of percussion, but not the important one—an antic skitter of drum machine dominates the cut. “Spiked” strips a funk riff down to cubist blocks, a bass sliding woozily between sharp-cut breakbeat drums. None of this is so surprising now, in the wake of techno, house and all its variants, but people weren’t expecting it, least of all from a post-punk progenitor, in 1997. The reissue adds a bunch of other tracks, many of which hew much closer to how you probably think of Wire. “Automation” adds a sinuous, down-in-the-mix vocal to its pop-locked rhythms. “Voice” bristles with guitar dissonance and bobs with dubby bass. “Tsunami” floats euphorically on sawed-down guitar feedback, a good bit like My Bloody Valentine but dancier. And “Cut the Slack” sounds like a Wire song, deadpan chants running into shouted aggressions and layers of guitar shimmering around undeniable hooks. The extra tracks make Bastard sound less like a 100% departure and more like a gradual evolution—and they are very much worth hearing all on their own.

Jennifer Kelly

Ethan Philion Quartet — Gnosis (Sunnyside)

Gnosis by Ethan Philion Quartet

Here’s a welcome surprise. As a rule, bebop-rooted jazz is not the place to look for excitement in 2023, but the rules change when Ethan Philion is on stage. On this record, his second as a leader, the Chicago-based bassist helms a quartet that combines high energy with rhythmic grace and a thorough commitment to the mechanics of the music being played. The latter point might not sound so thrilling, but it is key, since it results in performances that can be appreciated for their cohesion as well as their outward-bound vibe. Philion’s debut was a tribute to Charles Mingus that felt a little too polished; this time, the soloing by all parties (alto saxophonist Greg Ward, trumpeter Russ Johnson, drummer Dana Hall) evince both vigor and rigor.

Bill Meyer

Rick Reed — The Symmetry Of Telemetry (Elevator Bath / Sedimental)

The Symmetry of Telemetry by Rick Reed

The Symmetry Of Telemetry is Rick Reed’s pandemic album. Methodologically, it’s hard to say how much that matters, since the Austin-based electronic musician’s practice already involved patiently collecting and sifting through shortwave broadcasts and then combining them with performed electronics. But the slow-motion uneasiness of “Dysania,” the alternately abraded and bulked-up bumps that introduce “Leave A Light On For Tony,” and the disconsolate, fizzling tones that occupy most of “Space Age Radio Love Song” certainly feel like that time felt. But there’s more to this music than downer vibes. Reed knows how to layer and arrange sounds so that an apparently static passage yields event upon event anytime you decide to listen into his compacted constructions. He also knows how to make waiting pay off, and while it would be spoiling things to tell you what he does, suffice to say that if you listen, you’ll know it when it happens.

Bill Meyer

Jason Roebke Quartet — Four Spheres (Corbett Vs Dempsey)

Four Spheres by Jason Roebke

When bandleaders like Mike Reed, Jorrit Dijkstra and Jason Adasiewicz have needed a bassist who could toggle easily between swing and abstraction, they’ve called Jason Roebke. Such calls, along with everything else a person has to do to maintain a life, mean that years might pass between Roebke’s turns as a leader. But when he does, you can count on them to be deeply considered and not quite like anything else going around. This quartet applies his trademarked fluidity to investigations of the tension between fixed and changing elements. Cassette recordings of electronic noise and metronome beats form nodal points within these pieces around which Edward Wilkerson Jr’s reeds and Marcus Evans’ drums surge and churn in overtly expressive fashion while pianist Mabel Kwan and Roebke shift their weight between fixity and flow. The sound is occasionally reminiscent of the more skeptical, interrogative side of the AACM, and particularly Roscoe Mitchell, but Roebke’s points of inquiry are purely his own.

Bill Meyer

Ned Rothenberg — Crossings Four (Clean Feed)

Crossings Four by Ned Rothenberg

This is some understated, shape-shifting stuff. On clarinets and alto saxophone, Ned Rothenberg matches a tone that’ll make you want to let your ear linger to phrasing sufficiently fluid to motivate them to get up and follow the music. The other three musicians in his Crossings Four are Mary Halvorson on guitar, Sylvie Courvoisier on piano and Tomas Fujiwara on drums. They and Rothenberg are well-matched in attitude, since everyone has chops to flex, but no one flashes them gratuitously. Although this is the quartet’s first recording, there are decades of shared experience and a myriad of interconnections between its members. This enables them to realize a variety of improvisational approaches, from droll and grooving to fractured and abstract, with ease. The moments when a signature lick pops out tend to be lures, inviting the listener to follow them as they disappear into matrices of brisk, nuanced interaction.

Bill Meyer

San Kazakgascar — Too Many People (Lather)

Too Many People by San Kazakgascar

The album title augurs misanthropy, but that’s not borne out by the sounds. This Sacramento seven-piece spares little time for sonic bleakness, and the sounds they choose to make reveal a robust curiosity about the music of other places. Disciplined west coast psych guitars converge with skronk-willing, souk-conscious reeds upon rhythm frameworks that suggest someone’s spent some quality time listening to Gary Glitter, the Meters and wherever it is that Chris Forsyth bottles his choogling spirits. The lack of vocals keeps them from saying anything you really wish they’d take back, and the commitment to a steady groove makes this a record you’ll want to hear on the go, so cash in that download code! But there are also lulls founded upon dust-blown acoustic picking, making this just the record to play when your Firestick won’t load and you’re back to watching that all western, all the time station, but you can’t stand to hear that bullshit cowboy dialogue anymore. Yeah, make up a Western in your own mind where the land defenders win and finish the day celebrating to the tunes of “Crockett Creek.”

Bill Meyer

Secret Pyramid — A Vanishing Touch (BaDaBing!)

A Vanishing Touch by Secret Pyramid

Amir Abbey often writes songs, but on A Vanishing Touch, he composes ambient music inspired by J Dilla’s Donuts. The two seem like strange projects to associate, but it is more the inspiration of Dilla’s jabbing beats that Abbey reconceptualizes to enliven the texture. The best track, “Whim,” is built around soaring textures amid just such rhythmic punctuation. Abbey also moved away from the long gestation period afforded his songs to greater immediacy. There is an improvisatory sensibility here that, rather than moving Secret Pyramid sideways, seems like a useful development.

A Vanishing Touch includes a wide range of synth sounds and doesn’t stint on yearning dissonance. As the ambient revival long exceeds its initial incarnation, it is up to artists like Abbey to reconceive it. Mission accomplished.

Christian Carey

Setting — At The Black Mountain College Museum (www.settingsounds.com)

at Black Mountain College Museum by Setting

Setting is Jaimie Fennelly (Mind Over Mirrors), Nathan Bowles (Pelt, Black Twig Pickers) and Joe Westerlund (Megafaun, Califone), and At the Black Mountain College Museum is the trio’s ultra-quick follow-up to their debut album. Recorded at the end of the brief string of dates that celebrated its release, it dives deeper into their blend of propulsive grooves and not-too-plush, not too rough textures in almost aquatic fashion. This music moves a bit like an otter might, drifting when the current does the necessary work, and then pointing head down with a vigorous kick into deeper and more turbulent eddies. The three multi-instrumentalists stick together, sonically speaking, so that you’re less likely to tune into their interactions than into the place the sounds take you.

Bill Meyer

Strinning & Daisy — Castle And Sun (Veto)

Castle and Sun by Strinning & Daisy

In a sax and drums duo, there’s nowhere to hide. If a musician lacks ideas, stamina or reciprocity, a duo will lay their deficit out for all to hear. Alternately, if they have what it takes, tuned-in listeners will know. The latter scenario is the case here. Swiss tenor saxophonist Sebastian Strinning and Chicagoan drummer Tim Daisy have known each other since 2019, when the former resided for a spell in the latter’s city. But they don’t have a lengthy shared history, so there’s an element of trying things on for size in this session’s dynamic. Each musician draws upon his diverse approaches in a series of mix-and-match explorations as tumbling lines meet steaming forward energy, hushed, textured tones part a curtain of metal sounds, and animal utterances confront circuitous patterns. Captured with three-dimensional palpability and spaciousness by engineer Nick Broste, their exchanges connect with both mind and gut.

Bill Meyer

Tiger Valley—The Celebration (Hausu Mountain)

The Celebration by Tiger Village

Cleveland based producer Tim Thornton’s latest album Tiger Village album, The Celebration, collects ten cheerfully constructed pieces capturing the chaotic joy of domestic life and music making under a feline regime. Random cat energy infuses Thornton’s music; languid relaxation gives way to manic activity, while parcels of affection turning into aloof, spiky demands for attention proffered with claws and cries. Both “Cat’s Up” and “Cat Chew” celebrate the beasts’ mercurial nature. The former is an insinuating strut constantly distracted by random shiny objects, sudden noises and those odd moments of fixation upon unseen emanations. The latter slinks about, looking you in the eye as it knocks your stuff off the desk and tramps across your keyboard. Across the other eight tracks, Thornton juxtaposes eight-bit squiggles, snatches of ambient melody, treated samples of his daughter’s voice, techno beats and machine detritus into a sometimes delirious delight. Quite lovely, though prone to scratching.

Andrew Forell

True Green — My Lost Decade (Spacecase)

My Lost Decade by True Green

Nine clever, loosely strung songs from Minneapolis novelist Dan Hornsby buzz and rattle like lost cuts from Pavement or Silver Jews. “My Peccaddilloes” is especially slanted and more than a little disenchanted, a rambling picaresque of guitars, drums and wheedle-y vocals. The chorus, if that’s what you call it, hits hard, though, “It’s a dog eat dog/said the dog with the taste for dogs/every man for himself/said the man for himself.” The music dissolves in your ears, mess of things that sting and bash and hum, but the lyrics are sharp and packed with reference. “You’re a hopeless diamond, and it’s rough,” yowls Hornsby in his kicked dog tenor, and that about sums it up.

Jennifer Kelly

Michael Zerang & Tashi Dorji — Schiamachy (Feeding Tube)

Sciamachy by Michael Zerang & Tashi Dorji

Sciamachy is named for the practice of fake fighting; if you make it to theater school, you might be able to take a class in it. The cover image augurs metal, but this mock battle between Tashi Dorji and Michael Zerang is improvisational to the hilt. What else can one do when faced with an instrument that’s one of a kind? Zerang is generally known as a percussionist, but on this occasion, he played something called Queequeg’s Coffin, which was devised to be both instrument and prop for a puppet theater performance of Moby Dick. It is a coffin-like box with a crank on one side, somewhat like a hurdy-gurdy without keys. It’s not precise, but it kicks up a great, raw racket of higher and lower pitches that sound like someone sawing open said coffin. Dorji’s response is to lean into texture, complimenting the coffin’s abrasive protests with Sonic Youth-like chimes, chain-in-the-skillet clanks and blinking feedback cadences. This music will have you picking imaginary splinters out of your clothes for the next week; how many records do you own that can make a similar claim?

Bill Meyer

#dust #dusted magazine #dave bayles #bill meyer #cy dune #eluvium #ian mathers #finnoguns wake #andrew forell #ghost marrow #brian harnetty #justin cober-lake #nailah hunter #ernesto diaz infante #thomas k.j. mejer #melted men #bryon hayes #nehan #colin newman #malka spiegel #ethan philion #rick reed #jason roebke #ned rothenberg #San Kazakgascar #secret pyramid #setting #christian carey #sebastian strinning #tim daisy

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Liberski/Yoshida —Troubled Water (Totalism)

It’s not always easy to connect instrumental music to the concepts it is theoretically linked to.  Beyond track titles and liner notes, with no lyrics to ponder, is this simply a case of burdening the music with unwarranted significance? On Troubled Water Belgian pianist Casimir Liberski and Japanese drummer Tatsuya Yoshida address this by producing a tempest that mirrors the turbulent effects of climate change on ocean currents and marine ecosystems.

Although centered in jazz, the duo draws on elements of classical, electronic and experimental rock during this set of six improvisations recorded live at Tokyo club Jazz Spot Thelonious in early 2023. Liberski’s interest in erasing genre boundaries complements the work of Yoshida, a central figure in the Japanese avant-garde and free-form rock with his long running project Ruins. As a duo they develop a clairvoyant link as their music moves through tumultuous rhythmic patterns and pacific lulls which illustrate rather than explain. Both play with a physicality which demonstrates an elemental connection to their instruments and an awareness of the lengths to which they can push themselves and each other.

Liberski opens “Shark Attack” with his synth producing granular white noise with barely audible sonar like beeps as Yoshida works his cymbals. Liberski shifts to the piano in a danse macabre with Yoshida’s drums. The agitation builds towards frenzy, Yoshida stomps double and triple time on his kick drum and pummels the kit, Liberski races to and fro across the keyboard and interjects thick blurts from the synth. It sounds chaotic but the inevitability of the outcome is clear. The music, like the shark and its prey, has a purpose and will not be denied. “Plastic Island” begins with Liberski’s pensive, almost romantic piano figure behind which Yoshida issues operatic ululations from behind the drums. As they progress, the piano becomes knottier and the drums cluttered and abstract. The pair share percussive and melodic duties, intersecting and diverging, emphasizing the organic, primal nature of rhythm and the intuitive intelligence of their improvisations. The Kuroshio Current is vital to the north Asian climate and the aquatic ecosystem of the region. On the track named for it, the duo is at their most pacific. Liberski’s right hand to the fore, beginning with a slow ascent through the octaves before rolling out delicate glissandos which Yoshida complements on his cymbals. The mood is  elegiac and when Yoshida’s ululations reappear it feels like both a lament and a ritual summoning to life. The outro passage of silence punctuated by a distorted synth tones — an alarm, a whale song, sonar — as eloquent as the preceding music.

Andrew Forell

#liberski yoshida #troubled water #totalism #andrew forell #casimir liberski #taysuya yoshida #jazz #improvisation #ruins #japan #belgium

[dustedmagazine]

Listening Post:  John Coltrane/Eric Dolphy’s Evenings at the Village Gate

In 1961, John Coltrane was reaching a wider audience via his edited single version of the Sound of Music classic "My Favorite Things.”  He was also, although it seems trite to say given the trajectory of his career, in a state of transition. Moving away from his "sheets of sound" period to exploring modality, non-western scales and polyrhythms which allowed him to improvise more deeply within the constraints of more familiar Jazz tropes.

His personal and musical relationship with Eric Dolphy was an important catalyst for the development of his sound. Dolphy was an important presence on Coltrane's other key album from 1961, Africa/Brass and here officially joins the quartet on alto, bass clarinet and flute. Evenings at the Village Gate was recorded towards the end of a month-long residency with a core band of Coltrane, Dolphy, Jones, McCoy Tyner on piano and Reggie Workman on bass. The other musician featured here, on "Africa,” is bassist Art Davis.

The recording captures the band moving towards the more incandescent sound that made Live at the Village Vanguard, recorded just a few weeks later in November 1961, such a viscerally thrilling album. The hit "My Favorite Things" and traditional English folk tune "Greensleeves"  are extended into long trance-like vamps. Benny Carter's 1936 classic "When Lights Are Low" showcases Dolphy's bass clarinet and in the originals "Impressions" and particularly "Africa"  the quintet hit almost ecstatic grooves. Dolphy's solos push Coltrane further into the spiritual free jazz that so divided later audiences. Dolphy's flute on "My Favorite Things" and especially his clarinet on "When Lights Are Low" are extraordinary, particularly the clarity of his upper register.

The highlight for me is the 22 minute version of "Africa" that closes the set. The two basses, bowed and plucked, Tyner's chordal work and solo, the slow build from the bass solo where the music seems to meander before Jones' explosive solo heralds the return of Dolphy and Coltrane improvising together on the theme, spiralling up the register, contrasting Coltrane's long slurries with Dolphy's staccato bursts which lead to the thunderous conclusion. 

As an archivist, sudden discoveries in forgotten basement boxes never surprises and the excitement never gets old. The tapes of Evenings at the Village Gate were recently unearthed in the NY Public Library sound archive after having been lost, found and lost again. Recorded by the Village Gate's sound engineer Rich Alderson these tapes were not meant for commercial use but rather to test the room's sound and a new ribbon microphone. As Alderson says in his notes, this was the only time he made a live recording with a single mic and, yes, there have been grumblings from fans and critics about the sound quality and mix particularly the dominance of Elvin Jones' drums. For me, one the best things about this is that you hear how integral Jones is not just as a fulcrum for the other soloists but as an inventive polyrhythmic presence, playing within and around his bandmates. I know that many of the Dusted crew are Coltrane fans and would love to hear your takes on the music and whether the single mic recording affects your enjoyment in any way. 

Andrew Forell

Justin Cober-Lake: There's so much to get into here, but I'll respond to your most direct question. The single-mic recording doesn't affect my enjoyment at all. I understand (sort of) the complaints, but I think they overstate the problem. More to the point, when I hear an archival release, I really want to get something new out of it. That doesn't mean I want a bad recording, but there's not too much point in digging up yet-another-nearly-the-same show (and I have nearly unlimited patience for Coltrane releases) or outtakes that give the cuts the same basic idea but just don't do it as well. I was really looking forward to hearing Coltrane and Dolphy interact, and nothing here disappoints. Having Jones so dominant just means I get to hear and think more about the role he plays in this combo. It would sound better to have the other instruments a little more to the fore, but it's not a problem (and actually Tyner's the one I wish I could hear a little better).

I think your topic suggests ideas about what these sorts of recordings — when made publicly available — are for. Is it academic material (the way we might look at a writer's journals or correspondence)? Is it to get truly new and good music out there? Is it a commercial ploy? Is it a time capsule to get us in the moment? The best curating does at least three of those with the commercial aspect a hoped-for benefit. This one probably hits all four, but I suspect the recording pushes it a little more toward that first category.

Bill Meyer: I’m playing this for the first time as I type, and I’m only to track three, so my (ahem) impressions could not be fresher. 

First, I’ll say that, like Justin, I have a lot of time for Coltrane, and especially the quartet/quintet music from the Impulse years. The band’s on point, it sounds like Dolphy is sparking Coltrane, and Jones is firing up the whole band. Tyner’s low in the mix and Workman’s more felt than heard; the recording probably reflects what it was like to actually hear this band most nights, i.e. Jones and the horn(s) were overwhelming. 

How essential is it? If you’re a deep student of Coltrane, there are no inessential records, and the chance to hear him with Dolphy, fairly early on, should not be passed up. But if you’re big fan, not a scholar, then you need to get The Complete 1961 Village Vanguard Recordings box and the 7-CD set, Live Trane: The European Tours, before you drop a penny on this album. And if you’re just curious, start with Impressions. This group is hardly under-documented. The sound quality, while tolerable, is compromised enough to make Evenings At The Village Gate less essential than everything I just mentioned. 

I’m only just now starting to play “Africa,” so I’ll check in again after I play that. 

“Africa” might be the best reason for a merely curious listener to get this album. It’s very exploratory, the bass conversation is almost casual (not a phrase I use much when discussing Coltrane), and they manage to tap into the piece’s inherent grandeur by the end. 

“Africa” is a great example of this band working out what they’re doing while they’re doing it. 

Andrew Forell: On Justin’s points about the function of archival releases, I’ve been going back and forth on the academic versus time capsule/good music uncovered question. There is a degree of cynicism and skepticism in these days of multidisc, anniversary box sets in arrays of tastefully colored vinyl which seemed designed for the super(liquid)fan and cater to a mix of nostalgia and fetish. Having said that specialist archival labels have done us a great service unearthing so much "lost" and under-represented music. On one hand I agree with your summation and to Bill’s point, yes this quintet has been pretty thoroughly documented and yes the Vanguard tapes would be the place to start. But purely as a fan I am more interested in live recordings than discs of out- and alternative takes. I’m thinking for example of the 1957 Monk/Coltrane at Carnegie Hall and Dolphy’s 1963 Illinois concert especially his solo rendition of “God Bless the Child," recordings that sat in archives for 48 and 36 years respectively.

By contrast, the other recent Coltrane excavation, Both Directions at Once is wonderful but I’m not listening to it as an academic exercise, taking notes and mulling over the different takes, interesting as they are. I approach Evenings as another opportunity to hear two great musicians, in a live setting, early on in their short partnership. As Justin says, this aspect doesn’t disappoint. I agree with Bill that the mix is close to what you would you hear in the room, the drums and horns to the fore. All this is a long way to a short answer. A moment in time, a band we’ll never experience in person and when all is said and done, 80 minutes of music I’d otherwise not hear.

Jonathan Shaw: As a relative newb to this music, I can't contribute cogently to discussions of this set's relative value. Most of the Coltrane I've listened to closely is from very late in his life, when he was playing wild and free--big fan of the set from Temple University in 1966 and the Live at the Village Vanguard Again! record from the same year. None of that is music I understand, but I feel it and respond to it strongly. The only Dolphy I've listened to closely is Out There. So I'll be the naif here.

I need to listen to these songs another few times before I can say anything about them as songs, but I really love the right-there-ness of the sound. I like being pushed around by the drums and squeezed between the horns (the first few minutes of "Greensleeves" are delightful in that respect). Maybe I'm lucky to come to the music with so little context. It's a thrill to hear the playing of these folks, about whom there is so much talk of collective genius. Perhaps because my ears are so raw to these sounds, I feel like that talk is being fleshed out for me.

Jim Marks: I think that this release has both academic and aesthetic (if that’s the right word) significance for Dolphy’s presence alone. I am more familiar with the original releases than the various re-releases from the period, but it’s my impression that there just isn’t that much Dolphy and Trane out there; for instance, I think Dolphy appears on just one cut of the Village Vanguard recordings (again, at least the original release). In particular, I’ve heard and loved various versions of “Favorite Things,” but this one seems unique for the six-plus-minute flute solo that opens the track. The solo is both brilliant in itself and creates a thrilling contrast with Coltrane when he comes in. This track alone is worth the price of admission for me.

Marc Medwin: I agree concerning Dolphy's importance to these performances, and while there is indeed plenty of Coltrane and Dolphy floating around (he took part in the Africa/Brass sessions that gave us both Africa and a big band version of "Greensleeves") his playing is really edgy here. Bill is right to point toward the sparks Dolphy's playing showers on the music. Yes, the flute on "My Favorite Things" is really stunning. He's all over the instrument, even more so than in those solos I've heard from the group's time in Europe.

Jon, I'd suggest that there's a strong link between the albums you mention and the Village Gate recordings we're discussing, a kind of continuum into which you're tapping when you describe the excitement generated by the playing. The musicians were as excited at the time as we are on hearing it all now! It was all new territory, the descriptors were in the process of forming, and while Cecil Taylor, Ornette Coleman, Sun Ra and a small group of kindred spirits were already exploring the spaceways, they were marginalized. That may be a component of the case today, but it's tempered by a veneration unimaginable at the time. That's part of the reason Dolphy lived in apartments where the snow came through the walls. Coltrane had plenty to lose by alienating the critics, but ultimately, it did not stop his progress. These recordings mark an early stage of that halting but inexorable voyage. With the possible exception of OM, Coltrane's final work never abandoned the tonal and modal extremes at which he was grabbing in the spring and summer of 1961.

Jennifer Kelly: Like Jon, I'm not well enough versed in this stuff to put it context or even really offer an opinion. I'm enjoying it a lot, and I, also, like the roughness and liveness of the mix with the foregrounded drums. But I think mostly what I am drawn to is the idea that this show happened in 1961, the year I was born, and that these sounds were lost for decades, and now you can hear them again, not just the music but the room tone, the people applauding, the shuffling of feet etc. from people who are almost all probably dead now.  It seems incredibly moving, and I am also taken by the part that the library took in this, in conserving this stuff and forgetting it had it and then rediscovering it.  In this age of online everything-available-all-the-time, that seems remarkable to me, and proves that libraries are so crucial to civilization now and always, even as they're under threat.  

Marc Medwin: A real time machine, isn't it? We are fortunate that we have these documents at all, and yes, the story of the tapes resurfacing is a compelling one! To your observations, audience reaction seems pretty enthusiastic to music that would eventually be dubbed anti-jazz by prominent members of the critical establishment!

Bill Meyer: I can imagine this music being more sympathetically received by audiences experiencing its intensity, whereas critics might have fretted because it represented a paradigm shift away from bebop models, so they had to decide if it was jazz or not.

It is amusing, given the knowledge we have of what Coltrane would be playing in five years, that this music is where a lot of critics drew a line in the sane and said, "this is antijazz."

Jon Shaw: Yes, Bill, that seems bonkers to me. I am particularly moved by the minutes in that 1966 set at Temple when Coltrane abandons his horn altogether and starts beating his chest and humming and grunting. Wonder what the chin-stroking jazz authorities made of that.

Given my points of reference, this set sounds so much more musically conventional. But the emotional force of the music is still immediate, viscerally present. Beautifully so.

Andrew Forell: In retrospect, all those arguments seem kind of crazy. Yesterday’s heresies become tomorrow’s orthodoxies but what we’re left with is, as Jonathan says, the visceral beauty of Coltrane’s striving for transcendence and his interplay with Dolphy’s extraordinary talent which we hear here working as a catalyst for Coltrane. As Marc and Jen note the audience is there with them..

Come Shepp, Sanders & Rashid Ali, the inquisitors’ fulminations only increased and you think what weren’t you hearing?

Marc Medwin: I was just listening to a Jaimie Branch interview where she's talking about her visual art, about throwing down a lot of material and finding the forms within it. I think that might be another throughline in Coltrane's and certainly Dolphy's work, a gradual discarding of traditional forms and poossibly structures based on what I hate to call intuition, because it diminishes the process.

Then, I was thinking again about our discussion of the critics. I see their role, or their assessment of that role, as a kind of investment without reward, and yeah, it does seem bonkers now! Bill Dixon once talked about how the writers might spend considerable time and expend commensurate energy learning to pick out "I Got Rhythm" on the piano, and they're suddenly confronted with... well, the sounds we're discussing! What would you do, or have done, in that situation? It's really easy for me, like shooting fish in the proverbial barrel, to disparage critical efforts of the time, especially in light of the ideas and philosophies Branch and so many others are at liberty and encouraged to play and express now, but I wonder how I would have reacted, what my biases and predilections would have involved at that pivotal moment.

Ian Mathers: The points about historical reception are really interesting, I think. There's a famous (in Canada!) bunch of Canadian painters called the Group of Seven, hugely influential on Canadian art in the 20th century and still well known today. In all the major museums, reproductions everywhere, etc. They were largely landscape painters, and while I think most of the work is beautiful, it's so culturally prominent that it runs the risk of seeming boring or staid. I literally grew up with it being around! So it was a delightful shock to read a group biography of them (Ross King's Defiant Spirits: The Modernist Revolution of the Group of Seven, if anyone is hankering for some CanCon) and see from contemporary reviews that people were so shocked and appalled by the vividness of their colour palettes and other aesthetic choices that they were practically called anti-art at the time. It's not surprising to me that this music would both attract similar furore at the time and, from the vantage point of a new listener in 2022 who loves A Love Supreme and some of the other obvious works but hasn't delved particularly far into Dolphy, Coltrane live, or this era in jazz in general (that would be me), be heard and felt as great, exciting, but not exactly formally radical stuff.

I don't think I would have noticed much about the recording quality were people not talking about it. "My Favorite Things" seems to have the overall volume down a bit, but still seemed pretty clear to me (agree with the assessments above; Coltrane, Dolphy, and Jones very forward, others further back although even when less prominent I find myself 'following' Tyner's work through these tracks more often than not), and starting with "When Lights Are Low" that seems to be corrected. It actually sounds pretty great to me! Although I absolutely defer to Bill's recommendations for better starting places for serious investigations, I can also say as a casual but interested fan who tends to quail in the face of box sets and other similarly lengthy efforts this feels from my relatively ignorant vantage like a perfectly nice place to start. I like Justin's rubric for why these releases might come about (or be valuable), but if I hadn't heard any Coltrane and you just gave me this one, my unnuanced perspective would just be something like "wow, this is great!" But maybe I'm underthinking it. And having that reaction doesn't mean that others aren't right to recommend better/more edifying entry points, or that having that reaction shouldn't lead one to educate oneself.

Jonathan Shaw: Maybe it's a lucky thing for me to be so poorly versed in Coltrane's music, not just in the sense of having listened to precious little of it. I am even less familiar with the catalog of music criticism, which in jazz seems to me voluminous, archival in scale. But even with music I'm extensively engaged with — historically, critically — I try to understand it and also to feel it. I can't imagine not feeling what's exciting in this music, energizing and challenging in equal measure.

Like Marc, I don't want to recursively impugn the critical writing of folks working in very different contexts. But I don't like it when the thinking gets in the way of the music's emotional and aesthetic force, which to me feels unmistakably powerful here.

Ian Mathers: Yeah, maybe that's a good distinction to draw; I can imagine in a different time and place feeling like the music here is more radical or challenging than it sounds to us now. But I can't quite imagine not getting a visceral thrill out of it.

Marc Medwin: And doesn't this contradiction get at the essence of what we're trying to do? Those of us who've chosen to write about music are absolutely stuck grasping at the ephemeral in whatever way we're able! How do we balance the ordering of considerations and explanations in unfolding sentences with the  spontaneity of action and reaction that made us pick up a pen in the first place?! We add and subtract layers of whatever that alchemical intersection of meaning and energy involves that hits so hard and compels us to write! In fact, the more time I'm spending with these snapshots of summer 1961, the more I decamp from my own philosophizing about critical relativity to sit beside Ian. The stuff is powerful and original, and the fact that so much of what we're hearing now is a direct result of those modal explorations and harmonically inventive interventions says that the dissenting voices were fundamentally, if understandably, wrong! It could be that the musician can be inclusive in a way the writer simply can't.

I'm listening to "Africa" again, which is for me the disc's biggest single revelation in that it's the only concert version we have, so far as I know. How exciting is that Jones solo, and how much does it say about his art and the group's collective art?!! He starts out in this kind of "Latin" groove with layers of swing and syncopation over it, he goes into a melodic/motivic thing like you'd eventually hear Ginger Baker doing on Toad, and then eases back into the groove, all (if no editing has occured) in about two minutes. He's got the music's history summed up in the time it would take somebody to get through a proper hello!! Took me longer to scribble about it than for him to play it!!

Justin Cober-Lake: I'm not sure if Marc is making me want to put down or pick up a pen, but he's definitely making me want to listen to "Africa" again. (Not that I needed much encouragement.)

Andrew Forell: Africa/Brass was the first jazz album I bought. Coming from post-punk, I found it immediately the most exciting and challenging music I’d heard and it set me off on my exploration of Coltrane, Dolphy, Coleman and their contemporaries. This version of “Africa” is a highlight for me also for all the reasons Marc, Ian and Jon have talked about.

Bill Meyer: Yeah, "Africa" is quite the jam! 

A thought about critical perspective — our discussion has gotten me thinking, not for the first time, about the impacts of measures upon experience, and the limits of critical thinking when I’m also an avid listener. If I’m listening for “the best” Coltrane/Dolphy, in terms of sound quality or most focused performances,  this album isn’t it. But if I’m looking for excitement, this album has loads of it, and that might be enhanced by the drums-forward mix. 

#listening post #dusted magazine #john coltrane #eric dolphy evenings at the village gate #jazz #reissuemmc #mccoy tyner #reggie workman #derek taylor #art davis #new york public library #andrew forell #justin cober-lake #bill meyer #africa #jonathan shaw #jim marks #mark medwin #jennifer kelly #ian mathers #Youtube

[dustedmagazine]

Dust Volume Nine, Number 10

Older, but not a bit wiser, the Hives return

Fall comes with its smell of maple in the leaves, its intimations of mortality and, this year, its share of unsettling events—war in the middle east, AI in everything and the murder of our beloved Bandcamp by capitalist privateers.  (We are not equating these things by any means.)  Like always, we turn to music, the annihilating blare of metal, the agile interplay of improvisation, the well-shaped contours of pop, depending on our individual tastes.  We hope you’ll find something to ease your own personal burden in all this as well.  Contributors include Bryon Hayes, Bill Meyer, Andrew Forell, Tim Clarke, Jonathan Shaw, Ian Mathers, Alex Johnson, Jennifer Kelly and Ray Garraty. 

Due to technical issues we're posting this in two parts, so don't miss the second one.

Ad Hoc — Corpse (Shame File Music / Albert’s Basement)

Ad Hoc was a Melbourne-based improvising unit, an experimental outfit that should have higher prominence. It only took 40-plus years, but Shame File Music and Albert’s Basement are finally spearheading a reissue initiative. Last year saw the arrival of the trio’s sole release, the hypnotic Distance cassette. It disappeared the moment it became available. Corpse documents an unconventional live performance from the group. They prepared their instruments (guitars, an EMS Synthi AKS synth and tape loops) for performance prior to the arrival of the audience and then shut off their amps. When all were seated, the trio turned on the amplifiers and unfurled an aleatoric blast of sound. The resulting music is far removed from the ambient tone clusters of Distance. The first piece shimmers in a way that calls to mind Matthew Bower’s Sunroof project, while the latter piece bathes in guitar noise so thick that it may have influenced The Dead C’s The Operation of the Sonne EP. Ad Hoc have today’s noisemakers beat: Corpse presents itself with a freshness that belies its 1980 provenance.

Bryon Hayes

Axolotl — Abrasive (Souffle Continu)

The French trio Axolotl existed for a few years in the early 1980s, and it reflects the aesthetic concerns of its time. Guitarist Marc Dufourd’s playing betrays some acquaintance with the work of Derek Bailey and Henry Kaiser, and the fibrous tones and agile exchanges between reeds players Jacques Oger and Etienne Brunet recall Evan Parker. All three double on electronics, hand percussion and utterances. These accessories, in combination with the concentration of the album’s 12 tracks, give the music a truculent attitude and just-the-facts brevity that brings to mind punk and post-punk. This may be free improvisation, but it is improvised from a point of view, and it’s that informed attitude that makes the album worth visiting nearly 40 years after its original release.

Bill Meyer

Will Butler + Sister Squares — Self-Titled (Merge)

Will Butler joins with Sister Squares — multi-instrumentalists Jenny (Butler’s wife) and Julie Shore, Sara Dobbs and drummer/producer Miles Francis — for their debut album. Bouncy, heartland rock garlanded with that 1980s Fairlight and Linn drum sound mixes with touches of art rock as Butler emotes wholehearted. The influence of the 20 years Butler spent with Arcade Fire is inescapable, but it feels like the quintet have also been listening to Billy MacKenzie (“Long Grass”) and Russell Mael (“Arrow of Time”) as well as Springsteen, Mellencamp and company. “Hee Loop” sounds like a mash of Paul Simon and Peter Gabriel. The themes and emotions can be big in that Arcade Fire way that’s equal parts exhilarating and exhausting, but the album works best when the band dial down the melodramatic flourishes as on “Car Crash” and “The Window,” where Butler is right in your ear, tired, disillusioned, real. This is a record I wanted to like both more and less. For every heartfelt moment and interesting musical choice, there’s a cringe-inducing gestural overreach that makes you wince. A bit like his former band but with enough promise to persevere with.

Andrew Forell

Claire Deak — Sotto Voce (Lost Tribe Sound)

Melbourne-based composer Claire Deak’s last release on Lost Tribe Sound was 2020’s The Old Capital, a fantastic collaboration with Tony Dupé. In my Dusted review I said, “There’s so much wonderful stuff going on across these seven songs that it’s a delight to revisit.” As its title suggests, Deak’s solo debut, Sotto Voce, very much sits at the opposite end of the musical spectrum. This is subtle, minimal music that softly arises out of silence and speaks an elusive language. The background to the album’s creation is Deak’s exploration of the work of two women composers from the early baroque era, Francesca Caccini (1587–c.1645) and Barbara Strozzi (1619–1677). The dominant musical elements are strings, harp and voice, with other instruments coloring the edges of these understated, starkly beautiful compositions. Across the album’s 42 minutes the music feels, at times, to be battling the entropy of erasure, struggling to be heard amid the cacophony of these overstimulated times. For that reason alone, it’s necessary to invest your attention and listen closely. The experience is eerie and transportive.

Tim Clarke

Mike Donovan — Meets the Mighty Flashlight (Drag City)

On a musical Venn diagram showing the intersecting circles of garage rock, lo-fi, and psych, Mike Donovan has set up his sandbox. With Sic Alps he veered more noisy and lo-fi; with Peacers he favored a straight-ahead garage-rock sound. On this new record with Mike Fellows, AKA The Mighty Flashlight, Donovan steers in the direction of shambolic psychedelic-pop in the vein of the Olivia Tremor Control. (To anyone who knows and loves OTC, this is obviously a very good thing.) The splashy drums and percussion tracks feel like a gestural afterthought rather than a rhythmic backbone the songs are built around, and Donovan and Fellows steer these songs into some choppy, unexpected waters. Opener “Planet Metley” is the clearest and most successful distillation of their aesthetic, offering up a staggering range of ideas in under four minutes, stopping and starting erratically, the bass roving all over the fretboard. At the other end of the spectrum, “Laurel Lotus Dub” is the kind of experiment that sounds like it was more fun to create that it is to listen back to. Between these two extremes there’s the junkshop boogie of “A Capital Pitch,” which features the hilarious line, “Hanging out on the ramparts with some dickheads in black,” the concise drum-machine and organ instrumental “Amalgam Wagon,” and the plaintive, country-flavored “Whistledown.” Wherever Donovan roams it’s usually worth following, and Meets the Mighty Flashlight is a winning collaboration that fizzes with fun.

Tim Clarke

Everything Falls Apart — Everything Falls Apart (Totalism)

“Somn” means sleep, or more poetically death. It’s the title of six of the seven tracks from Everything Falls Apart, the self-titled album from the duo of Belgian bassist Otto Lindholm (born Cyrille de Haes) and English producer Ross Tones. Those titles (numbered six to 11) and the coda “Wonderfully Desolate” tell you only part of the story of the music the pair produce. Their conversation focuses on the nuance of the Lindholm’s double bass which Tones swathes in electronic effects, stretching notes and motifs into near drones in timbres that rise from the murk like lugubrious sentinels. This is seriously heavy music but the dynamism of the duo’s understanding and interplay distinguishes Everything Falls Apart. Whilst many of the pieces focus on stasis and decay, “Somn 9” is a desert storm with clicking percussion, almost didgeridoo like growls from the bass and screeching electronic noise. On “Somn 11”, deep bowed notes support Lindholm’s move through the registers as if shaking from fitful dreams into the morning light. “Wonderfully Desolate” is comparatively unadorned, a string quartet playing against the end times, shimmers of light through the cracks.

Andrew Forell

False Fed — Let Them Eat Fake (Neurot Recordings)

Is it accurate to call a band including members of legendary underground acts Amebix (Stig Miller), Nausea (Roy Mayorga) and Broken Bones (Jeff Janiak) a “supergroup”? It might help to note that Janiak has sung for Discharge since 2014, and Mayorga has done a couple stints as drummer for Ministry. All names to conjure with (though a few of us first encountered Mayorga as a teenager back in the 1980s Lehigh Valley hardcore scene, when he drummed for Youthquake; West Catty Playground Building forever, man). In any case, the players have pooled their talents to create this death-rocking, sorta goth, sorta post-punk record, and it’s a lot of grim, grimy fun. Most of the music is mid-tempo, grand and romantic in its gestures, but shot through with a crusty growl in the guitars and production tone. The best songs speed things up a bit; both “The Tyrant Dies” and “The Big Sleep” have compelling momentum, complementing the stakes of songs’ ideas. It's Armagideon Time, people. Here’s your soundtrack, from dudes that know.

Jonathan Shaw

Hauschka— Philanthropy (City Slang)

German composer Volker Bertelmann’s 15th album of prepared piano pieces under the name Hauschka is noticeably warmer than some of his previous works. Joined by Samuli Kosminen on percussion and electronics and cellist Laura Wiek, Hauschka continues his exploration of the rhythmic and timbral possibilities of his instrument. At times almost jaunty, there are echoes of Bertelmann’s previous experiments with melancholic atmospherics but the general tone here is welcoming and optimistic. Kosminen adds subtle effects which frame rather than obscure the piano. There’s a touch of Satie in Hauschka’s playful iconoclastic approach to the piano and his deceptively simple melodies, especially on “Loved Ones” where Wiek’s plangent cello lines sustain and decay over an allusive harmony that speaks both of innocence and experience. At the other end of the spectrum, the closing piece “Noise” builds abstract ambience from repeated piano notes, smears of cello and a quiet wash of effects as if the players are enveloped in a thick damp fog. A lovely album for both fans and newcomers.

Andrew Forell

The Hives — The Death of Randy Fitzsimmons (Disques Hives)

There are usually going to be some questions when a band comes back with a new record after over a decade, maybe especially so with an act like Swedish garage/punk flamboyants the Hives; can they match the energy of their youth? Are they still willing and able to give us the old thrills? Or have they (and this is usually asked with a small, tasteful shudder of disgust) matured? It doesn’t take very long into first single/first track “Bogus Operandi” for the concerned listener to have reason for a sigh of relief. Anyone who used to (or still does?) blast “Main Offender” or “Hate to Say I Told You So” or “Walk Idiot Walk” should feel the galvanizing charge of a true, Frankensteinian resurrection once the riff hits. And across these not-quite-32 minutes (the brevity is also a promising sign) Howlin’ Pelle Almqvist and the boys kick up exactly the kind of racket you’d want from them, with tracks like “Trapdoor Solution” and “The Bomb” savoring the kind of gleefully dumb fun they’ve always provided (with a nice sideline in some of Almqvist’s deliberately, over-the-top awful narrators on “Two Kinds of Trouble” and “What Did I Ever Do to You?”). They even continue to throw out small, satisfying variations on the classic Hives sound like the brassy swagger of “Stick Up” and the surprisingly heartfelt thrash of “Smoke & Mirrors”. They may have killed off their “sixth member,” but the Hives are otherwise in rude health.

Ian Mathers

Islet — Soft Fascination (Fire)

The Welsh psych-electronic oddballs in Islet are on their fourth full-length now but show no signs of settling down. Soft Fascination is a bonkers mash up of dance pop, art song, hip hop, noise and folk. “Euphoria” floats a feather-light daze, a la Avey Tare, then punctures it the rat-at-tat of snare, the rifle shot rap repartee of Emma Daman Thomas. Gossamer textures of synth weave in and around the main action, snapping tight at intervals, like sails catching a hard wind. The whole thing is butterfly ephemeral with strong wires holding it up, a combination of daydream and architecture. “River Body,” if anything, tips even crazier, with its infectious sing-song, skip-rope vocals, its tootling toy keyboards, its blasts of noise and friction. And what can you make of “Sherry” which bucks and heaves and shouts out “Ay, ay, ay, ay,” like a lost Matias Aguayar cut? “Ay, ay, ay, ay,” indeed.

Jennifer Kelly

Jute Gyte — Unus Mundus Patet (Self-released)

Unus Mundus Patet is not the most dissonant or challenging record Adam Kalmbach has released during his 20-plus-year run under the Jute Gyte moniker. But neither is this black metal for the kvlt trve believers or for the hipster-adjacent sets, be they transcendental or ecstatic or blackgazy. The songs twist and turn in on themselves, always clear in their expressions of complex musical ideas, and also — somehow, someway — listenable and enjoyable. Avant-garde? Sure thing, and likely a much more authentic iteration of that phrase’s meaning than the music many other metal bands churn out under cover of high-minded beard stroking. See the by-turns undulating and fragmenting “Killing a Sword” or the trudging, vertiginous and then utterly thrilling “Philoctetes.” Jute Gyte doesn’t make music for the background, but if you can give these songs your full attention, you’ll be rewarded. Turn it up and open the portal into somewhere much weirder and more marvelous.

Jonathan Shaw

Danny Kamins / Chris Alford / Charles Pagano — The Secret Stop (Musical Eschatology)

Free improvisation may be a little sparser on the ground in the southern USA than it is in Chicago or New York, but The Secret Stop affirms the vigor of those who participate. Guitarist Chris Alford and drummer Charles Pagano play in New Orleans, and Danny Kamins is a saxophonist from Texas; this encounter took place in the Crescent City. As even players in places like the aforementioned northern cities or London will affirm, travel comes with this territory. Their interactions display a capacity to sustain balance when the energy is high and to back off when doing so will transform the music’s tension. Kamins intersperses long, coarse tones with emphatic pops, and Alford evidences a fluent stutter that suggests he’s spent a lot of time studying James “Blood” Ulmer’s sound grammar. Pagano’s cymbal sizzle and mutating not-quite-patterns provide both forward momentum and a framework within which the action occurs.

Bill Meyer

MIKE \ Wiki \ The Alchemist — Faith Is a Rock (ALC)

The long awaited collaboration between The Alchemist and MIKE took a sudden turn when they took on board another New York rapper Wiki who steals the show here. Both Wiki and MIKE were outcasts recording music in the vein of Earl Sweatshirt, even though MIKE was always a better version of Earl with only possibly a tenth of his fame. Knowing no rest, The Alchemist (that is his fourth collab this year) takes both MCs way out of their comfort zone, refusing to pander to the needs. MIKE and Wiki have to deal with The Alchemist’s fast and thick layered production, and it works for all of them. “Mayors A Cop” is a standout here, and Faith Is a Rock is one strong contender for the tape of the year.

Ray Garraty

Camila Nebbia — Una Ofrenda A La Ausencía (Relative Pitch)

The title translates as An Offering To Absence, which of course raises the question, what’s missing? Camila Nebbia is a multidisciplinary artist who grew up in Buenos Aires, Argentina, but has seems to have spent a fair chunk of time moving around Europe in recent years, and is currently based in Berlin. She has a sizable discography, but this correspondent has not heard most of it, so let’s just focus on the album at hand. Its 16 tracks present three facets of her work — acoustic tenor saxophone, electronically adjusted saxophone and poetry — with the first method best represented. The unaccompanied saxophone performances reveal her mastery of both weight-bearing muscularity and adroit tap-dancing on the far side of the fences that confine conventional tonality. But when she layers long tones and feedback, Nebbia becomes a one-woman orchestra transmitting heavy Penderecki vibes. The one poem included, “Dejo que me lieve” (“I let it lie”), is recited in Spanish, and no translation is offered; perhaps home is what’s not there, so she needs to manifest it creatively?

Bill Meyer

[Continued in Part 2, because Tumblr decided we only get 10 audio links.]

#ad hoc #bryon hayes #dust #dusted magazine #axolotl #bill meyer #will butler #square sisters #andrew forell #claire deak #tim clarke #mike donovan #everything falls apart #false fed #jonathan shaw #hauschke #the hives #ian mathers #islet #jennifer kelly #jute gyte #danny kamins #MIKE #ray garraty #camila nebbia #Angelika Niescier #Bandcamp #Youtube

[dustedmagazine]

Daryl Groetsch —Above the Clouds (self-released)

The latest release from Daryl Groetsch Is a 75-minute floating symphony that insinuates its way into your subconscious with almost imperceptible stealth. Microtonal atoms gradually accrete mass to hunker under their own gravitational weight. There are moments when, suspended between the shore and the stratosphere, you sense a curious uncertainty, a tension between floating and falling that belies the apparent stasis of Groetsch’s music. His slow evolution is upon you before you comprehend it and it is within his conjuring of this preconscious feeling that the wonder of Above the Shore overtakes you. Groetsch may seek to merely lull his listeners, to conquer them with beatific sound, but ironically his music solicits interaction beyond simple surrender. It may seem counterintuitive but this is ambient music that encourages and rewards active engagement. It also seems to interrogate that engagement, to seek answers to the what, how and why of the listening experience. Questions we often take for granted and find ourselves thinking and writing around this form of music seems mysterious, ineffable yet somehow as alienating as it is consoling.

There’s a heft to Above the Shore that plays against the weightlessness of the surface. The tones and billows of synth are gentle, the pace majestical and the atmosphere warm yet the piece feels dense. At 13:45, for instance, the synths produce choral sounds that evoke the first rays of dawn spreading halos around parting clouds and shimmering fingers of light on the water. As they develop, a slight air of lamentation shadows the rising sun, an ambivalence not so much disturbing but rather an inkling of the need for awareness that everything is not always as it seems and perhaps that’s just how it should be. Groetsch allows this to dissipate into radiance as he layers his synths, creating a series of mini crescendos, elusive wisps that fold back in on themselves like ripples that barely mark the beachside sand leaving the just perceptible prints of early morning strollers, surfers and swimmers that mark their transient impact on the eternal, everchanging shore. The contrast between sublime immensity and quotidian insignificance has been the grist of religious, philosophical, and artistic questing for millennia and Groetsch’s music seems a demonstration of the tight grip these inquiries have on us and the impossibility of ever really knowing. Sometimes you must simply give yourself up to the awe and wonder of it all. To bask in beauty is its own reward and Above the Shore will indulge your pondering whilst anointing you in its radiant glow.

Andrew Forell

#daryl groetsch #above the clouds #andrew forell #albumreview #dusted magazine #ambient #electronic #pulse emitter

[dustedmagazine]

Bush Tetras — They Live in My Head (Wharf Cat)

Photo by Godlis

Cynthia Sley remains a charismatic front woman, Pat Place’s guitar still jags and spits. The rhythm section of bassist RB Korbet (King Missile) and drummer/ producer Steve Shelley (Sonic Youth) provide muscular foundation, but this not the Bush Tetras of the early 1980s. They look back, yes, but they don’t stand still. Fans hoping another “Too Many Creeps” or “Cowboys in Africa” may be disappointed but taken on its merits They Live in My Head is a worthy addition to the band’s discography.

If at times, the songs approach mainstream rock, Place, a singular and underrated musician, provides the edge. Her distinctive style, influenced by Andy Gill, and incorporating space and phrasing of reggae players, developed as she mastered her instrument with The Contortions and the original Bush Tetras. Here, she twists new shapes from classic rock tropes whilst providing links to her familiar sound. Sley’s lyrics explore the disruptions of the pandemic, engaging with social and political upheaval, memory and the loss of indominable drummer Dee Pop who passed in 2021 during the initial writing of the album.

The sludgy big beat of “Bird on a Wire” only takes off when Place, alternating between block chords and scratchy discordant runs, is to the fore. “Tout Est Meilleur” thumps along like a classic metallic boogie, think Angus Young doing the Nutbush, energetic enough and enlivened further by Sley’s strong delivery which sells the song’s French lyrics. Place interrupts her straight ahead riffing on the punkish “I Am Not a Member” with the opening chords of “To Hell With Poverty” to good effect. After a rough patch through the middle section of the album, “Ghosts of People” is a highlight that begins as slow acoustic ballad, Sley’s voice is wreathed in regret with Shelley and Korbet providing the dynamic shifts and Place building an ascending crescendo of controlled distortion. They save the best for last. “The End” rides on Shelley’s martial beat and Korbet’s rolling bass line with Sley sounding as powerful as Grace Slick in her ascendancy and Place squalling sheets of sound with Rowland S. Howard level intensity. They Live in My Head doesn’t always work. Their take on classic guitar rock sometimes lapses into a mid-tempo morass but Bush Tetras have been a constant state of evolving for nearly four decades. Sley and Place are still compelling presences, and it’s good to have them back.

Andrew Forell

#bush tetras #they live in my head #wharf cat #andrew forell #albumreview #dusted magazine #punk #post-punk #steve shelley #new york city #Youtube

[dustedmagazine]

Laurel Halo — Atlas (Awe)

Photo by Norrel Blair

Like a collection of sketched maps of unseen or barely remembered topographies Atlas composer Laurel Halo charts her reaction to time spent in unfamiliar landscapes and cities. She captures that preternatural oddness of being at once part of and apart from life when one is a stranger in town. Minutely observant and slightly bewildered, Halo’s music captures that fugue state between awareness and dreaming where the senses meld into impressionistic sensation. Based on piano sketches written during 2020 and 2021, Halo added guitar, vibraphone and violin whilst working in Paris, London and Berlin. Saxophonist Bendik Giske, cellist Lucy Ralton, violinist James Underwood and vocalist Coby Sey augment the pieces which Halo electronically manipulates into allusive vignettes of atmosphere and mood.

The pieces on Atlas hardly vary in pace or method but with repeated listens they begin to reveal their secrets. Halo smears her piano with haunted strings and layers of echo and reverb to create dense atmospheres through which peripheral sounds suddenly slide across the foreground like a scrap of conversation in the language of a place from which you’ve just returned home. Giske’s saxophone is buried deep in the opening and closing tracks, a presence just out of reach then heard as if through a door that swings open in a foggy street for the ear to snatch at the notes and anticipate the rest. In an uncanny way, you feel you’re reconstructing a tune from a score written in invisible ink. On the lullaby-like “Belleville” Sey’s voice is a mere emanation amidst a swell of strings, a last gasp protest at bedtime before sleep overwhelms. Throughout, the strings act as emotional markers; pensive on “Naked into the Light”, febrile on “Late Night Drive” and “Sick Eros”, multitracked into orchestral grandeur on the title track.

Atlas doesn’t seek to evoke specific places so much as a sense of internal movement that parallels displacement and travel. On first listen Halo’s compositions tend to merge into one another, a blur of impressions like looking down on a cloud dappled landscape or passing buildings through a rain smeared train window. The atmospheres are foggy, drenched but rich, infused with the apparent illogic of dreams whose significance must be pieced together with hindsight from clues obvious and obscure.

Andrew Forell

#laurel halo #atlas #awe #andrew forell #albumreview #dusted magazine #lucy ralton #contemporary classical #bendik giske #james underwood #coby sey #Bandcamp

[dustedmagazine]

Sha Ru — They Are Textural (Monkeytown)

Working between New York and Berlin, duo Sha Ru, singer/producer Masha and her partner Ru, make music steeped in the underground ethos of both cities. They decelerate the bpm of techno and emphasize rhythmic physicality as they explore the fluidity of gender identity so often nurtured in the clubs. Using a limited palette of electronic sounds, thumping beats and shuddering bass, the pair traverses a broad emotional range. Masha’s lightly German accented sprechgesang is high in the mix, the voice moving between robotic distance, intimate disclosure, and vehement indignation. On They Are Textural Sha Ru concentrates on using rhythm to produce timbres that reflect Masha’s lyrical narratives. The struggle for identity, the pains of rejection in being, friendship and love, the joy of personal liberation through community and at base, the seductive power of music.

“ONA” opens with a metallic shimmer of chopped vocal samples before resolving into Masha’s intonation “andere/andere/andere” (others), the bass drops deep and squelchy as she “with inhibitions in my head” observes the bodies writhing in strobe lit silhouette. You feel the process of formation, from the alienated chant to the ambivalence of the gaze reinforced by the rhythm track which stutters beneath the voice and bass. “Not Your Steps” follows a similar pattern but ups both the tempo and intensity. The bass batters against the claustrophobic atmosphere, submarine like bleeps in the background adding to the sense of entrapment, as the narrator struggles to find escape from past stigma and repression. The tone is measured in its determination to break free and at times break loose. On “Get Lost,” the defiant refrain “I get lost to get lost” is softened somewhat by the response “I’ll find us,” as the rhythm skitters around mirroring the contradictory impulses of involvement and detachment. The highlight “Crawl” shows another side of Sha Ru’s music. Beneath the main vocal line, slightly distorted and lower in the mix than what’s gone before, the music, expands and contracts like molten metal, the bass like molasses and a constant almost subliminal cacophony of voices chattering beneath. Its less a crowded club than the vicious internal voices in the aftermath of a torrid night. It leaves you with a satisfyingly uncanny sense of dread.

Andrew Forell

#sha ru #they are textual #monkeytown #andrew forell #albumreview #dusted magazine #electronic #dance #queer #new york #berlin