#nathan salsburg

[doomandgloomfromthetomb]

James Elkington & Nathan Salsburg - First Unitarian Church of Philadelphia, Philadelphia, Pennsylvania, October 22, 2015

Head over to Aquarium Drunkard to read my conversation with six-string kings James Elkington and Nathan Salsburg, whose brand-new All Gist (out now on Paradise of Bachelors) is one of my favorite records of 2024 thus far. These guys aren't just extraordinary guitarists, they're also very nice dudes.

As mentioned at the tail-end of the interview, Jim and Nathan are planning some live Gist gigs in the coming months — their first real tour since 2015! To get prepped for that, check out the above video from back in those days, expertly filmed by Elkhorn's Jesse Sheppard. If you're a guitarist, it'll be fun (and perhaps frustrating) to see how casually Elkington and Salsburg dispatch these intricately detailed tunes. Unfair!

And how's about Aquarium Drunkard?! We're a couple weeks into the new age, with memberships rolling in fast 'n' furious. Tons of killer stuff going up on the regular, including terrific High Llamas and Shabaka Hutchings interviews, a Lagniappe Session from the Reds, Pinks and Purples, a fresh Bandcamping column ... and so much more! If this is the kind of thing you dig, consider pitching in.

#james elkington #nathan salsburg #aquarium drunkard

[dustedmagazine]

James Elkington and Nathan Salsburg — All Gist (Paradise of Bachelors)

In this third album of guitar duets, James Elkington and Nathan Salsburg perform a complicated sort of dance, their separate instruments executing, light and agile motifs, sometimes in concord, other times slightly out of sync. The melody refracts through their separate interpretations, so that you often feel like you’re hearing it from multiple angles or doubled with an echo. Though some of the songs have a twinge of melancholy, most of them explode with joy. Their two instruments chase each other like dogs at happy play.

Elkington and Salsburg pick up their musical conversation after a long hiatus. Ambsace, their last collaboration, came out in 2015. But like the best reunions, this one is free of awkwardness. They treat each other with warmth and respect throughout. The guitars tangle but never step on one another, each player leaving space for the other.

The pair also makes judicious use of other talent to bolster and deepen their sound. The opener “Death Wishes to Kill” gets a firm grounding from Nick Macri’s acoustic bass; he lends a steadiness to this playful tag in thumps that resonate and mark time without staking too prominent a place for themselves in the sonic mix. But even more striking is the wild skirl of violin that Wanees Zarour adds, wheeling around the guitar line in a throaty emotional timbre. Zarour played on the last Elkington/Salsburg disc. He is a Palestinian-American multi-instrumentalist and academic who teaches at the University of Chicago.

“Nicest Distinction” shows how the foundation that Elkington and Salsburg lay down can be opened up and expanded.  It begins in stately ritual, a madrigal with a little blues introduced in the way the phrases end with a vibrating bent notes.  It’s just the two of them for a good long while, one strumming splayed chords, the other picking a melodic path in and among the meditations. Yet this long piece kicks into a gallop towards the end, with wild tom-tom fill and woodwinds played by Wednesday Knudsen.

All Gist will likely be lumped into the folk category, being acoustic and not quite modern. Still there is really only one actual folk tune on it, the mortality-shaded frolic of “Rule Bretagne,” based, per the title, on the music of seagoing France. Well, maybe not. “Explanation Point” digs pretty deep into country blues, the notes sliding and tumbling down a sunlight rambling path. Here, as elsewhere, melodic lines zing off each other then carom back for a moment of concord.

But really, the most interesting cuts veer the furthest from conventional folk. “Well, Well Cornelius,” originally written for piano by the British composer Howard Skelton, offers a radiant procession of chords framed by the regular architecture of picking. It is serene and unhurried and really quite beautiful. So, is “Buffalo Stance” a Neneh Cherry song you might remember for its pop-locking hip hop beat and strobe lit video. These artists distill it down to melody—a tune you might not have focused on the original, very different version—and transform the cut into a gentle, bucolic ramble. Ironically, in the video, Neneh introduces her song with an aside of “how melodic” which feels like sarcasm, but these two guitarists heard it there all along. Just lovely.

Jennifer Kelly

#james elkington #nathan salsburg #all gist #paradise of bachelors #jennifer kelly #albumreview #dusted magazine #guitar duets #neneh cherry #howard skelton #finger picking

[knightofleo]

Nathan Salsburg | XII

#this one's interesting #nathan salsburg #xii #Landwerk No. 3 #ambient #good night

[jukbox]

Nathan Salsburg, Sketch from Life, Third, 2018

#Nathan Salsburg #Sketch from Life #third #2018 #guitare #guitar #folk

[adsmusiconstellations]

Nathan Salsburg - Third (2018)

https://www.noquarter.net/

#nathan salsburg #third #2018 #2010s #no quarter #folk #americana #usa #daniel martin moore #josh bonati #sarah lasley #nic jones #ishbel macaskill #Murdo Ferguson #audio

[thepoisonroom]

Despite the progressive politics of early zombie films like George Romero’s Night of the Living Dead, modern narratives about zombies are often strikingly conservative, displaying a world that rewards rugged individualism and presents a pessimistic view of human nature. The recent HBO drama The Last of Us, based on the acclaimed 2013 video game of the same name, exemplifies this tendency. The show takes place two decades after an outbreak of a zombifying fungal infection triggers global societal collapse. In this post-apocalyptic world, a fascist government violently maintains order within walled-off “quarantine zones,” while a brutal resistance group called the Fireflies strives to overthrow them. The Last of Us follows the cynical smuggler Joel (Pedro Pascal) and a teenager named Ellie (Bella Ramsey), who is immune to the fungus, on their treacherous journey to meet up with a team of Fireflies who believe they can use her to create a vaccine. As Joel and Ellie bond against the backdrop of a dog-eat-dog world where no one can be trusted, the show presents a largely right-wing vision in which the only path to redemption is through caring for one’s immediate kin. According to Neil Druckmann—the co-creator of the series as well as the game and its sequel, who spent his early childhood in a West Bank settlement—elements of The Last of Us are informed by the politics of Israel/Palestine. On this week’s episode of On the Nose, editor-in-chief Arielle Angel, managing editor Nathan Goldman, fellow Dahlia Krutkovich, and contributor Hazem Fahmy discuss the politics of the show, its relationship to Israel/Palestine, and its evocations of the Holocaust. Note that this episode includes spoilers for the HBO series, as well as the game and its sequel, which will form the basis of future seasons of the show. Thanks to Jesse Brenneman for producing and to Nathan Salsburg for the use of his song “VIII (All That Were Calculated Have Passed).” 

#Spotify #personal nonsense #to listen #really excited to check this out because i've been feeling very inadequate at analyzing the politics of the show

[bellshazes]

the only song in the world this week

#peter posts #hand sign for everythings fine goodness hard life of mine! #faceless hard god of laughable time... #life line line on mine intertwined with the body in mine #Spotify

[cricketpress]

NEW poster for our pals at Joseph-Beth Booksellers for...

Jeff Tweedy: in conversation with Nathan Salsburg discussing World Within a Song: Music That Changed My Life and Life That Changed My Music

Thursday, November 9, 2023 - 7:00pm 3250 Victory Pkwy, Cincinnati, OH45207

Poster Details: 2 color screenprint 16" x 20" Edition of 100 Available at event

#art #illustration #screenprint #printmaking #sharethelex #design #cricket press #joseph-beth booksellers #jeff tweedy #poster art

[theretirementhome]

Nathan Salsburg - XIII

Buy it here.

[dustedmagazine]

Nathan Salsburg — Landwerk No. 3 (No Quarter)

Landwerk No. 3 by Nathan Salsburg

For the third volume of his Landwerk series, guitarist and archivist Nathan Salsburg again isolates fragments of archival recordings to form loops over which he layers minimalist electric guitar and, less prominently, resonator guitar, piano, and/or organ. The staticky groan of an organ or bleat of a clarinet along with the static itself thus serve as half of a conversation across more than a century of sound technology. The effect is akin to drone, with the spare, skeletal guitar lines usually acknowledging the repetition of the loops without themselves necessarily repeating.

As on the first two volumes of the series, the tracks run around ten minutes each and are titled only with sequential Roman numerals that reflect the continuity of the (so far, at least) three-part work, these being numbered X-XIV. Sometimes, as on “X,” the guitar melody takes a cue from the sample, in this case, joining it in a festive march. On other tracks, such as “XII,” the whirling of the 78 disc perhaps suggests a rhythm. 

Comparison with the original recordings is revealing. Thus, on “XI,” a repeated cluster of seven lilting notes from the piano playing of Sylvia Schwartz, accompanying her father Abe’s klezmer fiddling on a 1920 recording, and the static in which they are embedded provide a matrix for hesitant clusters of reverby guitar notes into which single, elongated fiddle tones occasionally intrude. The result, like the traditional tune, feels neither quite minor nor major; the pace is glacial, but the ten minutes nevertheless pass swiftly in the trance-like state that the track induces. 

There are numerous little details that give the compositions a sense of forward motion. Spare, isolated piano chords surface around 3:00 to share space with the guitar on “XI,” for instance, while on “XIV” an organ takes over for the guitar from around 4:00 to 6:00 before retreating into the background. On “XIII,” driven by a sample from a klezmer orchestra, the guitar begins with chords, shifts to single-note runs, picks up the tempo briefly in the closing minutes, and returns to the chords at the end. 

The use of sonic artifacts in guitar music is shared with, for instance, Daniel Bachman (as I observed in a recent review of his Almanac Behind for Dusted) and traces back at least to John Fahey’s fourth album. In Salsburg’s case, the noise plays more of an elemental than a narrative role, creating along with the loops the architecture of the sound. Landwerk No. 3 is, like its predecessors, a work of craggy beauty that does homage to a world—that of pre-war European Jews—destroyed in the same wave of technology and social change that made possible the preservation of its traces in the archival recordings and, in turn, rendered the recordings obsolete. It is easy to imagine that Sylvia and Abe Schwartz, if somehow able to hear “XI,” would marvel and approve. 

Jim Marks

#nathan salsburg #landwerk no. 3 #no quarter #jim marks #albumreview #dusted magazine #guitar #archival recordings

[knightofleo]

Nathan Salsburg | IX

#good night #nathan salsburg #Landwerk No. 3 #IX #ambient #vinyl hiss and gentle twilit guitar plucks

[ursaminorjim]

“Psalm 147″ - Nathan Salsburg, Psalms

#song that heaven allows

[doomandgloomfromthetomb]

Joan Shelley - The Colony, Woodstock, New York, September 23, 2022

Joan Shelley went on a quick east coast tour last month — and thankfully, Eric from NYC Taper was on hand to record the opening night up in Woodstock. It is stardust, it is golden. Thank you, Eric! And thank you to Joan and her ace band, featuring Nathan Salsburg, Nick Macri and James Elkington. They sound great, of course, with a setlist full of favorites old and new. The Spur, Shelley's latest LP, is another masterpiece — if you haven't checked it out yet, you must. And if you're anywhere near Louisville, you'll definitely want to attend the Spur album release show in a couple of weeks.

#joan shelley

[still-single]

Heathen Disco updates

The most recent shows are as below. Maybe you'd like to listen.

Show #326 (Feb 12, 2023)

HOUR 1

James Brown – Stone to the Bone

The Supremes – Stoned Love

The Chi-Lites – Stoned Out of My Mind

Clark-Hutchinson – Free to Be Stoned

Nathan Salsburg – XIV

Black Sabbath – A National Acrobat

Cheater Slicks – Fear

The Drin – Mozart on the Wing

Come – Recidivist

FACS – When You Say

Equipment Pointed Ankh – Paper Sink

Del the Funky Homosapien – Eye Examination

HOUR 2

De La Soul – Held Down

Lyn Collins – Think About It (Live at the Apollo)

Quix*o*tic – Tell It Like It Is

Crushed – Coil

The Passions – Runaway

Mamitri Yulith Empress Yonagunisan – Gala Saver

Heavy Blanket – Danny

Miaow – Fate

Central Line – Walking Into Sunshine

Gina X Performance – No G.D.M.

Goblin – Roller

Doom Flower – The Space

Yo La Tengo – Brain Capers

HOUR 3

Oneida – Paralyzed

3rd Bass – 3rd Bass Theme A.K.A. Portrait of the Artist as a Hood

Casa Nostra – Insomnia (extended mix)

Detroit Emeralds – Feel the Need

Ramsey Lewis Trio – Opus #5 / Uhuru

Exploratorium – Number 09

Show #325 (Feb 5, 2023)

Art Ensemble of Chicago – Funky AECO

Mutamassik – Wishik

Lifted – Total Care Zero

Shizuka – Plan for Solitude

Beau Wanzer – A Burrowing Booboo

Nuovo Testamento – Heat

The Invincible Limit – Push (New Mix)

Experimental Products – Glowing in the Dark

Miss Nude – Taste My Acid Fruit

Syamese – Drum

Portion Control – Go Talk

Equipment Pointed Ankh – Port of Indiana

Echo & the Bunnymen – The Subject

Q Lazzarus – Goodbye Horses (Demo 2)

Nun – In Blood

Six Finger Satellite – Where Humans Go

Iggy Pop – Funtime

Terry – Gold Duck

SUSS – Ash Fork, AZ

Glyders – Maria’s Hunt

The House of Love – Road

The Loft – Your Door Shines Like Gold

Celibates – Coming Alone

Marcie’s Still Waiting – For You (Not For You)

Shinichi Atobe – First Plate 3

Th’ Blisks – A Salve

Dippers – Looking for a Sphere Pt. 1

Ulaan Passerine – Light of Lights

Adonis – No Way Back

Kraze – The Party (Original Mix)

Paul Johnson – After Dark

Tirzah – Sink In (Actress remix)

Om Unit – Pursuit

Show #324 (Jan 29, 2013)

Tom Verlaine – Souvenir from a Dream

Love Child – Stumbling Block

Love – Softly to Me

Owen Maercks – Intense Young Man

Television – Marquee Moon (1974 demo)

Peace Regime – untitled

Skull Practitioners – Intruder

Temple – Heathen

Rancid X – Old Sex Queen

X – I Don’t Wanna Go Out

Beau Wanzer – A Dead Person’s Monologue

The Real Kids – Nowadaze Kids

Holy Tongue – Spirit Mask

Sleaford Mods – UK Grim

Miss Lie – Depression

Exhaustion – Old Mickey

Midnight Mines – Hollow Sky

Primal Scream – All Fall Down

Virgin Prunes – Baby Turns Blue

The C.I.A. – Better

Exploded View – You Got a Problem, Son

Violet French and the Horrible – I Want the Sky to Be Crying

Dippers – Looking for a Sphere Pt. 2

Blatant Dissent – Eleven Days

Circus Lupus – New Cop Car

Lush – Nothing Natural

The Fall – Y.F.O.C. / Slippy Floor

Obe – untitled

Sightless Pit – Calcified Glass

The Ex – Evolution

Oozing Wound – Hypnic Jerk

Nitzer Ebb – Captivate

George Brigman & Split – Blowin’ Smoke

Meg Baird – Star Hill Song

Equipment Pointed Ankh – From Inside the House

Dalibor Cruz – Depose the Influencer

Manuel Göttsching – E2-E4 side A

[murraysiskind]

#music #Spotify

[beatdisc]

Here's a mid-week wrap-up of all the New Releases & Re-issues through the shop in the past week or 2 that we haven't gotten a chance to fill you in on! New records from Paramore, Obituary and Nathan Salsburg, plus re-issues from Madvillain, Peaches, Motorhead, Matt Berry, Strung Out, Bright Eyes & plenty more! Get in touch to grab anything you like.

- Paramore - This Is Why (Black Vinyl) $55 - Obituary - Dying Of Everything (Orange Vinyl) $48 - Nathan Salsburg - Landwerk No. 3 (2xLP) $55 - Peaches - The Teaches Of Peaches (Pink Vinyl) $45

- Madvillain - Curls & All Caps EP $38 - Official Motörhead - Sacrifice (Orange Vinyl) $60 - Matt Berry's Music - Music For Insomniacs $55 - Crunt - s/t (Blue Vinyl) $55

- Cold Chisel - The Live Tapes: Vol. 1 (3xLP) $95 - The Dwarves - Come Clean $35 - Fucked Up - One Day (Blue & Clear Vinyl) $50 - Rex - C (Rose 2xLP Vinyl) $75

Strung Out (Black Vinyl Re-issues) - An American Paradox $35 - Black Hawks Over Los Angeles $35 - The Element Of Sonic Defiance $35

Bright Eyes - Digital Ash In A Digital Urn (2xLP) $50 / Companion EP (Gold 12") $45 - Lifted (2xLP) $60 / Companion EP (Gold 12") $45