#quin kirchner

[still-single]

Heathen Disco #291 (May 1st 2022) <- LISTEN

Click it and flick it.

HOUR 1

Anadol – Gizli Duygular

The Pop Group – She Is Beyond Good and Evil (original / dub)

Ryuichi Sakamoto – Riot in Lagos

Lilac – Burn Down the White House

Weak Signal – War and War

Lovelock – Someone

Michal Turtle – Are You Psychic?

Stygian Stride – Taiga

Kelly Lee Owens – Release

Neil Young – We R in Control

Oren Ambarchi, Johan Berthling & Andreas Werliin – III

Horsegirl – History Lesson Pt. II

HOUR 2

HOGG – Complaints

Blue Öyster Cult – Lips in the Hills

George Brigman & Split – Blowin’ Smoke

Limousine Beach – Night Is Falling

Shinehead – Who the Cap Fit

Skee Mask – Collapse Casual

DJ Stingray 313 – Reverse Engineering

Kraftwerk – Numbers/Computer World 2

Geo Rip – Underwater Bodycam

Depeche Mode – Shout (Riomix)

FACS – General Public

Negative Gears – Zoned

Moss Icon – Hate in Me

Severed Heads – Petrol (Remix Five)

Silueta Palida – El Paso de Tiempo (Version Remezclada)

Joys Union Group – Shimmering Surface

The Submissives – Chirp Like a Bird

HOUR 3

Agaric – I’m Gonna Beat Dis (Instrumental Acid Mix)

Pitva – Krach

Hi Power – Simba Groove

Bohannon – Trying to Be Slick

The System – Vampirella

John Taylor – Pause

Rob Clearfield & Quin Kirchner – Orbit I

The Locust – Twenty-Three Full-Time Cowboys

The Jacks – DM 4-50

Esplendor Geometrico – Maria Luisa

The Stone Roses – I Wanna Be Adored

[noloveforned]

friday night finds me hosting no love for ned on wlur from 8pm until midnight, as usual. please swing by if you're around or stream last week's show on mixcloud when you get a few minutes!

no love for ned on wlur – october 6th, 2023 from 8-10pm

artist // track // album // label pavement // carrot rope // terror twilight // matador soccer mommy // here // karaoke night cassette // loma vista standard fare // philadelphia // huw stephens session on july 1st, 2010 10" // precious andrew savage // my my my dear // several songs about fire // rough trade closet straights // apologise // closet straights // cobra snake necktie pop filter // heaven sent // cono // bobo integral patio // the sun // collection // fire talk kissing party // no advice // graceless // (self-released) blues lawyer // have nots // sight gags on the radio 7" ep // dark entries this is pop // 666 // white monkey // lollipop gentilesky // city of boredom // ways of seeing // hozac collate // erika's trip // generative systems // domestic departure oxbow and peter brötzmann // a gentleman’s gentleman // an eternal reminder of not today- live at moers // sleeping giant glossolalia emily robb // first grow a gold plant // if i am misery then give me affection // petty bunco califone // villagers // villagers // jealous butcher records modern nature // tapestry // no fixed point in space // bella union bobby jackson // desiree song // spiritual jazz volume fourteen- private compilation // jazzman daniel villarreal featuring jeff parker and anna butterss // bring it // lados b // international anthem donald byrd // black byrd // black byrd // blue note quin kirchner, daniel van duerm and matthew lux // pink void // kvl volume 2 // astral spirits tito puente // africa habla // el rey bravo // tico mckinley dixon // run, run, run // beloved! paradise! jazz!? // city slang noname // namesake // sundial // (self-released) l'orange and blu // cafe lover // old soul (outtake) // old soul wiki and tony seltzer // numb // 14k figaro // wikset enterprise pivot gang // aang // aang digital single // (self-released) taken by trees // she loves the way they love her // another year ep // rough trade world atlas // darling, it’s always something // slow love // (self-released) the hannah barberas // you're so?! // fantastic tales of the sea // subjangle / spinout nuggets still submarine // photos i never took // warmer shades of you ep // (self-released) hero no hero // just to be with you // pacific standard time // (self-released) hazy sour cherry // little run // tour de tokyo // damnably wolf girl // good for nothing // mama's boy cassette // soft power

#wlur #radio shows

[dustedmagazine]

Fred Thomas — Those Days Are Dust (Dagoretti)

Those Days Are Dust, Dream Erosion Pt. II by Fred Thomas

Fred Thomas is a busy fellow, so busy that it can prove difficult to keep up with all the projects he’s involved in. Just recently, his new band Winged Wheel put out their excellent debut album, No Island (Jennifer Kelly reviewed it for Dusted). He releases music under his own name, including 2015’s fantastic All Are Saved; he plays in various other bands, including Idle Ray, Failed Flowers and Hydropark; plus, he has recently narrated a podcast about the history of Polyvinyl Records. Basically, if there are any interesting musical projects underway in Ann Arbor, Michigan, it’s highly likely that Fred Thomas is involved.

Those Days Are Dust is the latest entry in Thomas’s sprawling and varied discography. An instrumental solo album, it’s thematically a successor to 2020’s Dream Erosion. During 2021, Thomas experimented with synthesizers and tape delay, crafting atmospheric loops and minimal compositions. The best points of comparison are probably Tim Hecker and Christian Fennesz, with emphasis on immersive textures and slowly shifting layers, such as the static-flecked tapestry of “Boat Cloak.”

Album opener “January Redux” pairs a wrenching backwards melody with plenty of tape hiss, immediately establishing an emotionally engaging atmosphere. The slowly unfurling “Crisis Days cont.” has a muted majesty that evokes the rain-soaked dystopia of Vangelis’s Blade Runner soundtrack. “Repeating” is a dreamy waltz at the heart of the track list, segueing beautifully into the droning, aquatic sounds of “Composition of the Whale.” At nearly six minutes, “Post-Flood Edits” is the longest piece, making the most of some extremely juicy synth tones across its runtime. The album’s outlier is “Unfit,” which features drums from Quin Kirchner and bass from Jason Lymangrover. It arrives early in the album, injecting a welcome burst of energy and a strident melody that really brighten the mood.

For the most part, Those Days Are Dust explores a muted, reflective palette that demonstrates an enviable lightness of touch. Thomas appears as adept at exploring the compositional possibilities of synths as he is at writing guitar-based songs or bashing away on the drums.

Tim Clarke

#dusted magazine #album review #tim clarke #fred thomas #those days are dust #dagoretti records #instrumental music #experimental music

[burlveneer-music]

Rob Frye - Exoplanet - my favorite from Good Willsmith’s Twitter thread on music in the vein of Jon Hassell

On Exoplanet, Rob Frye generates an atmosphere in which drummers and improvisers orbit synthesizers, inhabiting a Goldilocks zone of electronic and biotic components. Some of the tracks were created spontaneously or composed of strict loops, but two of the arrangements are melodic adaptations of the song of Musician Wren. After working as a field biologist with the Institute for Bird Populations in California from 2012-2016, Frye began to slow down and transcribe birdsong, eventually developing a performative lecture called Hearing Hidden Melodies. "XC175020" and "XC222182" are not potential earth-like planets in another solar system, indeed they are individual birds recorded by Peter Boesman in the Amazon. This bird, known as Uirapuru in Brazil and La Flautista in Peru, reminds us of the mysterious sonic knowledge threatened on our very own home planet. On this, his first album for Astral Spirits and his first as a leader, Rob played woodwinds and synthesizers and directed a specialized crew, recruiting Bitchin' Bajas (Drag City) bandmates Cooper Crain and Dan Quinlivan on engineering and electronics. Ben Lamar Gay's cornet (International Anthem) and Macie Stewart's violin (OHMME) pitch and roll, fueled by the dual propulsion of drummers Quin Kirchner (Astral Spirits) and Tommaso Moretti (Amalgam), while Nick Ciontea (brownshoesonly) consults on modular synthesizer. Like the Uirapuru, Edbrass Brasil (Sê-Lo!) also searches through fallen leaves in some of his own work, though for sound not insects. On "Innercosmos" we he hear his unconventional wind tubes, and on "XC222182" his voice calling as instruments gather, playing the bird's melody.

ROB FRYE - compositions, woodwinds, synthesizers COOPER CRAIN - electric organ, synthesizers DANIEL QUINLIVAN - synthesizer, electronics, wurlitzer BEN LAMAR GAY - cornet and wurlitzer TOMMASO MORETTI - drums (right channel) QUIN KIRCHNER - drums (left channel) MACIE STEWART - violin on tracks 2, 5, and 7 NICK CIONTEA - synthesizer on tracks 3 and 4 EDBRASS BRASIL - wind instruments and voice track 3 and 5

#Rob Frye #chicago #fourth world #percussion #experimental #quin kirchner #2021 #astral spirits

[nofatclips]

In Castle Dome by Ryley Walker from the album Deafman Glance

#somethingneweveryday #music #ryley walker #leroy bach #leroy fredrick bach #andrew scott young #quin kirchner #mikel avery #nate lepine #bill mackay #jeff lipton #cooper crain

[freethejazzblog]

Free The Jazz #98 [for Todd Schorr]

1 - Renku - 70's & 80's Remix (edit) (from "Live in Greenwich Village", 2016 Clean Feed Records)

2 - Pentangle - Moon Dog (edit) (from "Sweet Child", 1968 Transatlantic)

3 - Dustin Laurenzi - Down Is Up (from "Snaketime: The Music Of Moondog", 2019 Astral Spirits)

4 - Terumasa Hino Quintet - Dupe (from "Hi-Nology", 1969 Columbia)

5 - Cátodo Dúo - añil (edit) (from "sizigias", 2018 Pan y Rosas)

6 - The Love And Beauty Seekers - Takidi (from "Zar", 2016 Love & Beauty)

7 - Fire! - Touches Me With The Tips Of Wonder (from "The Hands", 2018 Rune Grammofon)

8 - Felix Kubin - Max Brand Studie IV (edit) (from "Max Brand Studie IV / Topia", 2019 V I S)

9 - Booker Ervin - A Lunar Tune (from "The Freedom Book", 1964 Prestige)

10 - Federico Ughi - Quando Andiamo (from "Transoceanico", 2019 577)

11 - Wadada Leo Smith / Sabu Toyozumi - Creative Music-1- Red Mountain Garden, Wild Irises And Glacier Lines (edit) (from "Burning Meditation", 2018 NoBusiness)

12 - Sly & The Family Drone + Dead Neanderthals - Muck Man Part 1 (from "Molar Wrench", 2017 Hominid Sounds)

Hear it first on 8K Sundays 11amNZT (Saturdays 10pmGMT)

#8k.nz #8k radio #8k christchurch #jazz #free jazz #free the jazz #michaël attias #john hebert #satoshi takeishi #terry cox #moondog #jason stein #dustin laurenzi #quin kirchner #terumasa hino #amanda irarrazabal #ramiro molina #jędrzej Łagodziński #franciszek pospieszalski #szymon gąsiorek #mats gustafsson #johan berthling #andreas werliin #felix kubin #booker ervin #jaki byard #federico ughi #adam lane #rachel musson #wadada leo smith

[sinceileftyoublog]

Ryley Walker Interview: The Truest Form

BY JORDAN MAINZER

Earlier this month, headlining the Empty Bottle’s fall block party, Ryley Walker joked, “How far did they have to go for me to headline?” to a crowd of fans who loved him for his banter just as much as his playing. “Osees weren’t available?” Funny enough, the music ended up just as raucous as those San Francisco psych rockers. Walker played with a band made up of guitarist Bill Mackay, bassist Andrew Scott Young (two main contributors to April’s Course In Fable, his first LP released on his own label husky pants records), and drummer Quin Kircher. They brought an immediately fried, buzzy vibe on “Striking Down Your Big Premiere”, Walker and MacKay in tune with their solos, and cooled off with the limber, gentle “Rang Dizzy”. And in revisiting his older catalog, Walker went full-on indie jam (Deafman Glance’s “Opposite Middle”), prog (“Telluride Speed”), and prog-folk (Golden Sings That Have Been Sung’s “The Halfwit In Me). It was simultaneously the most technically impressive and loosest I’ve ever seen Walker, the same combination that renders Course In Fable his best album to date.

Working with heavyweights like Tortoise’s John McEntire and string musician Douglas Jenkins (who provided all the string arrangements on the record), Walker’s latest is his most confident record. Though it’s rife with the same self-deprecating humor and references to past drug binges as his legendary Twitter account, Course In Fable sports positive vibes, especially in the dynamism of the instrumentation. The wonderfully titled one-take “A Lenticular Slap” jams for a couple minutes before going into its verses and swaying chorus, circular guitar rhythms atop mathy stop-starts. Tempos change amiably on the skronking “Axis Bent” and jazzy “Clad With Bunk”, Walker letting out a “woo!” on the latter to introduce serious riffing. 

The start-to-finish Course In Fable must have been similar to what the Empty Bottle set was to Walker and his band: forward, fast-charging, and fun. It was demoed in Chicago last June and recorded a year ago in Portland, Walker driving across the country in two days by himself. (He listened to the audiobook of NOFX’s autobiography during the drive.) And when it came time to release the record, Walker, whose contract with Dead Oceans had run out, chose his own label. While at this point, husky pants is home to albums by Chicago’s Luggage and Mukqs, an upcoming record from al Riggs, and Walker’s collaboration with one of his musical heroes, Gastr del Sol’s David Grubbs, in April, it was by far the label’s biggest release yet. Judging by its current roster, the risk to self-release paid off.

I spoke to Walker over the phone from his apartment in Manhattan earlier this year before Course In Fable was released. His sense of calm and optimism, even in the face of a world full of darkness, was apparent and seems to have served him well in a year that’s culminating in him finally playing his new songs live again. Read our conversation below, edited for length and clarity.

Since I Left You: What made you want to start your own label after being on Dead Oceans for a long time?

Ryley Walker: My contract ran up on Dead Oceans, and there were options to go back or find a new label, but I needed a job. There’s no beef with any label or any falling out story or fodder for the readers. I’m just happy to take it on my own, on my own timeline, and keep it close to the chest. It’s a nice challenge. It’s a lot more work, but I really enjoy it. For years, I kind of just coasted on hiring people to do all the work for me, but I’m in a position now to take that on and do a somewhat good job at it.

SILY: You’re releasing records for others, too. Some old friends.

RW: That’s kind of the goal, and why any label starts. “I guess I’ll do this myself and hope it works.” So far, it’s working okay. I haven’t hit any big snags yet, and I’m sure those will come in the future, but it’s really rewarding to put out music by friends and stuff I enjoy.

SILY: What about Course in Fable is unique as compared to all of your other records?

RW: Every other record is kind of a growth period of figuring things out, but I like to think I’ve settled into a sound I can dial into. That comes a lot from [drummer] Ryan [Jewell] and Bill and Andrew and all of the chemistry we had together. It’s all influenced by those Drag City and Thrill Jockey bands, and that’s the music I’ve always loved and wanted to make. I’m older, I get an ego, I lose an ego. I’d like to think this is the truest form of any record I’ve made, and I’ve gotten better at writing lyrics and playing guitar. I was a lot more calculated in how I record and more prepared than I’ve ever been. Previous records have often been songs with half-baked ideas, but this was fully ready to go with demos and words. It was very efficient. We got in and got out and there wasn’t so much guesswork.

SILY: It seems like for a while, each record was a reaction to the past one, trying to stray from it. This one seems like a logical next step from Deafman Glance. Has your relationship with your past material changed a lot over time?

RW: I don’t think about it too much. I wouldn’t want to do the same things I did on the old English folk-inspired records. Those are cool, but I wouldn’t do that again. I don’t think they’re bad, necessarily, but it was a pastiche, fan dedication era. I still do that now; I’m still a big fan of music and have a lot of carbon copies of things I enjoy.

SILY: At what point did you realize you wanted to work with John McEntire for this record?

RW: That was something I wanted to do when I was 15 years old. I knew John in Chicago before he lived in Portland. We weren’t good friends or anything, but we were friendly, and by friendly I mean I would corner him at [Chicago dive bar] Rainbo [Club] and be like [voice cracks] “Oh man, I love you, I’m a big fan!” I reached out to him at some point early last year. There were a couple options I had in mind, but he makes everything sound so good, and to have his print on the record would be amazing. And it was! He was really cool. It was one of the smoothest, most fun sessions I had, and he had a lot to do with how the music sounds. I’m really grateful for it.

SILY: The other collaborator that really stands out to me is Douglas Jenkins. These string arrangements are decidedly different than any strings on your previous albums. They conjure so many of the album’s different moods. How did you get in touch with him and decide you wanted to work with him?

RW: That was the recommendation of John. Douglas and John had worked together on a bunch of stuff. Douglas lives in Portland, too. I didn’t know who he was or any of his work before, so when we came out of the mixing, John said, “I want to add strings to a bunch of this stuff.” 

SILY: I first heard Douglas’s work on Jolie Holland's Wine Dark Sea, so when I saw his name, I thought, “Unexpected, but cool!”

RW: At first, I wasn’t really open to the idea. I wanted it to be this barebones rock record with guitars and drums, but I’m really glad I had a bit of humility to listen to John because I think it adds so much to the music.

SILY: What made you want to release “Rang Dizzy” as the first single?

RW: I guess it’s the most digestible song on the record. There were a couple other ideas, but it’s a nice intro to the record without giving away the whole thing. My thought process going into it was, “It’s an easy 4-minute folk guitar song that I guess will grab a listener.” But there’s a lot more crazy shit on the record that I didn’t want to give away, so I gave them the appetizers. I brought the mozzarella sticks out for the buffalo burger with fries basket.

SILY: It does seem to cover a lot of the lyrical ground you explore on the record. Words about being alive but also losing your shit.

RW: Yeah, so that encapsulates a good serving of the whole thing. 

SILY: How did you decide upon the sequencing?

RW: I think we recorded it in this order. I had a sequence worked out, which is a good thing about being prepared. I had the home demos on a 4-track, and then the band demos, and I figured out the sequence then. Starting big with a track like “Striking Down Your Big Premiere” is like [New York accent] “What the fuck is up? Welcome to the record.” And then it goes through those peaks and valleys. I like records that don’t have a totally dead middle. It kind of goes up and down and ends on a high note, so you don’t end with a total downer song. 

SILY: The title’s taken from the first words of “Axis Bent”. What made you want to title the record Course in Fable?

RW: That song was originally called “Course in Fable”, but I didn’t want to have an album with a title track, so I called it “Axis Bent”. The way I write words is all oddball poetry. Mixed and matched couplets. Any sort of overarching theme or story arc to the songs is totally unintentional, but I guess it works out at the end. It’s all these little samples from a super fried buffet of words I have, and I stitch them together. “Course in fable” was just something I wrote. I can’t really grasp a deeper meaning. If somebody wants to take what they can from it, that’s totally up to them, but it’s not a direct message. I don’t know, “course in fable,” [i.e.] “Here’s how to bullshit?”

SILY: I love songs about songwriting, and that seems to be what “Axis Bent” encapsulates. I don’t know if I’m off there...

RW: No, you’re not reaching at all. They’re all personal words that come from a personal place. I don’t have the answers to anything. I just know the way it comes out is how it works for me. I don’t want to seem like I take myself too seriously.

SILY: There’s no concrete narrative arc, but to what extent do these songs refer to real things that have happened or real moments in your life?

RW: Yeah, there’s talk about crack in there and stuff. I’d be lying if I said I didn’t have a crack binge or two in my life. [laughs] I think it’s a happy record. Self-deprecating, but generally happy.

SILY: Even some of the darkest moments, like on “Pond Scum Ocean”, when you sing, “Jump into pond scum oceans / I can’t wait until I die / walk a victory lap around whale shit tombs,” you can’t help but laugh. Many times on the record, you’re referring to a low place in a funny way.

RW: That’s how I’ve always dealt with it. I’m not living in denial or anything. It’s some sort of therapy and living in the solution and the present more and more.

SILY: How much of the jamming on here was improvised?

RW: The beginning of “Pond Scum Ocean” was the only jammy, improvised part. The rest of it is pretty written out and calculated. Bill’s guitar solos on the record are pretty different from take to take, but generally the whole thing was pretty written in stone. The intro to “Pond Scum Ocean” was taken from a crazy half hour jam. We cut up the best bits from it and put it at the beginning of the song.

SILY: What’s the story behind the album art?

RW: It’s by this painter named Jenny Nelson. She lives in upstate New York. I’m just a fan of her work. She makes these abstract oil paintings and water colors. I always loved the album art for Gastr del Sol and David Grubbs albums; it was always these abstract paintings. I hate looking at myself on the record cover and trying to sell myself as cool. [laughs] I like abstract art. It’s the only visual art I’m drawn to. I’m not a critic and don’t know anything about art, but it’s what I like. Jenny did a great job.

Course In Fable by Ryley Walker

#ryley walker #interviews #live music #empty bottle #bill mackay #quin kirchner #john mcentire #ryan jewell #course in fable #husky pants records #osees #andrew scott young #deafman glance #golden sings that have been sung #tortoise #douglas jenkins #twitter #nofx #dead oceans #luggage #mukqs #al riggs #gastr del sol #david grubbs #drag city #thrill jockey #rainbo club #jolie holland #wine dark sea #jenny nelson

[doomandgloomfromthetomb]

Ryley Walker - Live 2022

"Tapers always get in free. Holler and we list u. Bring the damn rig. Same if you ain’t got scrilla. We got u and want you at the gig. Experienced and beginner tapers alike. Kids just getting into it and wanna learn your craft especially welcome!!!!!!! We need a new generation of bootleggers!" — Ryley Walker

A sentiment we can all get behind, right? Ryley Walker is back on the road in 2022 and the taper nation is out in full force. Praise be! Of course, tapes are only as good as the jams contained therein — and fortunately, Ryley has plenty of jams. I've been seeing him in various configurations for several years now, and he just seems to get better with every passing year. His opening set for Drive-by Truckers in Fort Collins boasted epic workouts alongside some crisp, economical playing and hilarious banter. It ruled (where's the tape?!!).

So yeah, go see him — a jaunt with Tonstartssbandht kicks off next week — and check out some of the great recordings from the past few months. The archive runneth over: there's a great SBD matrix with drummer Chris Corsano in Atlanta ... rippling jams with drummer Ryan Jewell in Seattle ... a killer tape with guitarist Bill Mackay and drummer Quin Kirchner in Ferndale ... An embarrassment of bootleg riches. Thank a taper! (Oh and you're also going to want to check out Ryley's recent co-headliners Bitchin Bajas via fabulous SBD matrice from Omaha and Ferndale) .

#ryley walker #bitchin bajas

[arthurwrightart]

THURSDAY APRIL 29 | 7:30 PM Elastro Series: @elasticarts Quinlan Kirchner w/Visual Artist Arthur Wright @quinkirchner & Sandy Ewen & Lisa Cameron Duo The Elastro Series returns with a double bill featuring Quin Kirchner w/ visual artist Arthur Wright preceded by a duo from Texas musicians Sandy Ewen & Lisa Cameron Donate Here: www.donorbox.org/elasticarts Tune in Here: www.twitch.tv/elasticartschicago Art ©2021 by Arthur Wright All rights reserved GETITWRIGHT.COM #Elastro #ElectroAcousticSeries #Electronic #Experimental #Improvised #Jazz #Music #elasticarts #chicago #chicagojazzmag #jazzinstituteofchicago #TheFultonStreetCollective #hydeparkjazzsociety (at Elastic Arts) https://www.instagram.com/p/COPalPThWSG/?igshid=n7ts2zjem4tc

#elastro #electroacousticseries #electronic #experimental #improvised #jazz #music #elasticarts #chicago #chicagojazzmag #jazzinstituteofchicago #thefultonstreetcollective #hydeparkjazzsociety

[still-single]

all new HEATHEN DISCO for August 2nd, 2020 -- LISTEN

https://www.mixcloud.com/mosurock/heathen-disco-with-doug-mosurock-show-219-02-august-2020/

Tracklist as follows:

Jake Wark Quartet - Thistle

Naujawanan Baidar - Panj Ruz Pesh

Tuxedomoon - No Tears

Dendö Marionette - Reason and Brood (1980 Version)

mic/Kamaal Williams - Save Me

Amon Düül II - Green Bubble Raincoated Man

Slumber Party -��Why Do I Care

Moose - Jack

Skull Kontrol - Long Wave

Suburban Lawns - Janitor

Sweet Exorcist - Testfour

Poesie Noire - Earth (Material Version)

mic/Zombi - Thoughtforms

Crack Cloud - Favour Your Fortune

The Notwist - Ship

Future Sound of London - Are They Fightin Us

Lonnie Liston Smith and the Cosmic Echoes - Shadows

Wednesday Knudsen & Willie Lane - Modern Parlance

mic/Quin Kirchner - Karina

Jonnine - I Chase You Like Light on a Sundial

Bailterspace - MODF

Dif Juz - Heset

Führs and Fröhling - Every Land Tells a Story

mic/Primitive World - Iolanthe Dances

The Stranglers - Hangin' Around

Komare - Untitled (trk 5)

Spectrum - Total Recall (New Beat Mix)

Cygnus - Vectre Datasonix

mic/Stirrup+6 - Rodney's Last Ride

The Velvet Underground - Sister Ray (Live, Philadelphia 1970)

Mulatu Astatke & Black Jesus Experience - Living on Stolen Land

[noloveforned]

tune into wlur at 8pm tonight for this week's no love for ned. i'll be controlling the airwaves until midnight. last week's show is below if you'd like to catch up!

i also kicked off a new theme last week- for the next few months we'll be starting off every show with songs from artists that were part of the 'halifax pop explosion' of the 90s when halifax, nova scotia was briefly hyped as 'the next seattle'.

no love for ned on wlur – may 5th, 2023 from 8-10pm

artist // track // album // label sloan // i am the cancer // smeared // dgc shrapnel // catch you out // two arms, two hands, two ring pull cans // strange pursuits idle ray // eternal flame // (bandcamp mp3) // (self-released) martha // flag/burner // flag/burner digital single // specialist subject sweeping promises // egyptian shumba // illusion of choice compilation // girlsville trash romeo // inaction // moving in the summer cassette // what is life??? margaritas podridas // filosa // filosa 7" // subpop headcleaner // molasses // panic grass!!! cassette // gold mold during // quiz // during // chunklet the toms // other boys do // the toms // feel it yo la tengo // tonight’s episode // this stupid world // matador the trypes // (from the) morning glories // music for neighbors // pravda claire rousay and helena deland // deceiver // deceiver digital single // looking glass dirty projectors and björk // sharing orb (live from housing works) // mount wittenberg orca (deluxe edition) // domino ivor cutler and linda hirst // women of the world // privilege // hoorgi house brian eno // sherry // forever and ever no more // opal destroyer featuring sandro perri // somnambulist blues // somnambulist blues digital single // looking glass asher gamedze // wynter time // turbulence and pulse // international anthem quin kirchner, daniel van duerm and matthew lux // bandwidth prana // kvl volume two // astral spirits daoui // lil blk ass prince // (bandcamp mp3) // (self-released) billy woods and kenny segal featuring samuel t. herring // facetime // maps // backwoodz studioz estee nack // rose gardens // mini mansion dust, volume one // circle of patron joe bataan // mujer mia // salsoul // mericana del jones' postive vibes // court is closed (positive vibes version) // court is closed (expanded edition) // now again your heart breaks // one hundred twenty proof // new ocean waves // plan-it-x fine arts // in the bright wood // saltwater disco cassette // plume the ashenden papers // summer's coming on // night walk // secret center stella kola // november // stella kola // fountain flight the new pornographers // turn (japanese bonus track) // electric version // matador

#wlur #radio shows

[dustedmagazine]

The Dusted Mid-Year Exchange: 2018 Edition, Part 1

In our fifth annual switcheroo, Dusted writers review each other’s favorite records, venturing out of the genres where they feel most comfortable to wrestle with excellence outside their frame of reference.  As always, assignments were made at random with the only rules being: a) you can’t review your own pick and b) you can’t review something you’ve already written about for Dusted.  

Unlike in past years, there was no clear favorite in 2018, although artists including Marisa Anderson, Olden Yolk, DJ Koze and Kacey Musgraves made multiple lists.  And perhaps most heartening, a number of writers amended their mid-year favorites after listening to other writers’ picks.  We hope you’ll also be able to find some new favorites among the artists we highlight.

Today, we’ll run the first half of the mid-year blurbs (alphabetically) from Marisa Anderson to Joelle Leandre & Elisabeth Harnik.  We’ll cover the second half of the alphabet tomorrow, then close our feature with individual writers’ best of lists through the first half.

Marisa Anderson — Cloud Corner (Thrill Jockey)

Cloud Corner by Marisa Anderson

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Who recommended it? Eric McDowell

Did we review it? Not yet, but it’s assigned.  

Ben Donnelly’s take:

"Slow Ascent" is one of the titles in Anderson's latest batch of profound electric guitar explorations. It's a good phrase to summarize her career and style, hiking higher with each release, wandering further from the trails. For the second time, she's tracking a few extra instruments into her miniatures without disrupting the solitude, keyboards and acoustic strings mostly matching the cracks and chime of her main axe. Her fingerpicking has a fractal aspect, where intricate and rapid patterns can create a cycle that's relaxed and gradual, as on the title track and other lilting numbers. "Lament," a slide blues with a dissipating tempo and skeletal keyboard notes is forceful in its minimalism. She's becoming a master of small contrasts. Nowhere better than the closer "Lift,” where folks sounds step aside for a plucky scale that spirals up, offset by sweeps that sound like brushing the harp of an open-lidded grand piano, but take focus as a harmonized electric. Her brilliance is ever more in focus.

 The Armed — Only Love (Throatruiner)

ONLY LOVE by The Armed

Who recommended it? Jonathan Shaw

Did we review it? Yes. Jonathan Shaw said, “The Armed will likely be delighted by the divisive responses Only Love generates.”

Ian Mathers’ take:

You almost wish for anyone who’s potentially up for the Armed’s pummelling, exuberant, often frantic, tremendously maximalist take on hardcore and assorted associated genres to come to the record totally blind, and not just because “Witness” comes leaping out of the gates so forcefully. It can be fun to start digging around and register all the distancing tactics, purposeful obfuscation, sense of play, and weird links (to everything from Converge to, err, Rubicam and Young), but the visceral impact of Only Love is powerful enough that all that context should be saved for later. It’s one thing to start filling in context, it’s another thing to hear something as ferocious and compelling as “Role Models” (“NO INS! NO OUTS!” yell-chanted in a way I’m pretty sure even little kids would find appealing, if you could sneak this synth-spiked bomb past their parents) in the context of trying to figure out the game, if there is indeed a game here. After the roiling chaos of the first few listens subsides the sheer number of hooks packed inside these songs really settle in your mind, anchored by Ben Koller’s incredible drumming (possibly commissioned on false pretences) and just as adept at etching out a multi-part climax like the seething “On Jupiter” as just full-on sprinting on the likes of “Heavily Lined.” And then there’s “Fortune’s Daughter,” maybe the strongest earworm I’ve encountered yet in 2018. Who are the Armed and what are they up to? It’s not that I’m not interested in the answer to that kind of question, it’s more that as long as they keep making records as good as Only Love I’m happy to believe whatever they tell us (or don’t).

 Bardo Pond — Volume 8 (Fire)

Volume 8 by Bardo Pond

Who recommended it? Jennifer Kelly

Did we review it? Yes, Jennifer said, “The sound, vast and muscularly monolithic as ever, seems more like a demon summoned periodically from a ring of fire than the product of any sort of linear development.”

Isaac Cooper’s take:

Like fellow travelers Yo La Tengo’s There’s A Riot Going On, Bardo Pond’s Volume 8 is stitched together from jam excerpts and spare parts, but unlike Riot, Volume 8 is remarkably cohesive and propulsive. Even at its droniest and spaciest, there is no shortage of momentum or sense that Volume 8 is a collection of barrel scrapings to tide over the diehards; it stands with any of Bardo Pond’s releases. The guitars on “Kailash” and “Flayed Wish” howl and wail like Lear on the heath, while the rhythm section pushes on, determined as Sisyphus. Two shorter pieces, “Power Children” and the gorgeous solo guitar piece “Cud,” act as a brief respite before the entropic and monstrously heavy closer, “And I Will”. Musical improvisation is one of the best means we have of tapping into the murky world of the unconscious, and Volume 8 demonstrates that while there’s plenty of chaos and darkness down there, it’s also the source of inspiration and transcendence.

 Cut Worms — Hollow Ground (Jagjaguwar)

Hollow Ground by Cut Worms

Who recommended it? Ben Donnelly

Did we review it? Not yet...

Patrick Masterson’s take:

“Amid all the noise nowadays, there’s precious little that still makes me feel the way those peoples’ songs do, and aspiring to reach that level is a big part of what makes me do this to begin with.” This is Cut Worms’ Max Clarke in a charmingly earnest Medium interview last fall on some of his biggest influences – John Lennon, Bob Dylan, Lou Reed. Maybe you’ve heard of them; maybe you’ve heard of the level of cultural influence they have exerted on us all. And if you’ve heard the Alien Sunset EP that was released just after the interview ran, you’ll easily be able to see where Clarke was coming from in the time that he spent putting the homespun eight-track wonder together, splitting halves between Chicago and his current Brooklyn home. It’s a beautiful record that doesn’t overplay its hand, choosing instead to let the simplicity of his natural ear for a melody do the talking despite the humble recording quality. He was never going to reach the mythical heights of his influences plying away at that trade forever, of course, but his art was all the better for sounding so self-assured in its limitations.

Hollow Ground, however, is a Trojan Horse of the most exhausting variety. Those same reference points – the Beatles, Dylan, solo Reed – still apply, only here they spring forth in an aggressively augmented form with a backing band and a more fleshed-out sound that’s like saying, “Alexa, give me every pop music trend of the 60s at once” or, more accurately, like listening to someone too young to have experienced the decade but old enough to be familiar with its most basic cultural signifiers play an album’s worth of icons. How do we know? Check the new versions of Alien Sunset’s “Don’t Want to Say Good-Bye” and “Like Going Down Sideways”; they’re wholly different, coldly unlovable remakes of the intimate originals. Even his lyrics feel unconvincing; Clarke uses the pet name “baby” on 60% of the songs here, which, look: I don’t need to stare into a wordless void with Bill Basinski to feel something and there’s an evident surplus of genuinely touching heartache present, but that’s an affectation of the most irritatingly trite variety.

For a certain kind of person, Max Clarke is the perfect person; for that person, Hollow Ground will resonate simply, perfectly. I am not that person. I will never listen to this again – likely not individual songs, certainly not in full. Does that seem unduly harsh? Does it feel too personal? Does the cut worm forgive the plow? Guess we’ll see. Ask again when there’s a follow-up.

  Sarah Davachi— Let Night Come on Bells End the Day (Recital)

Who recommended it? Bryan Daly

Did we review it? No

Bill Meyer’s take:

Sarah Davachi puts out albums often enough that it’s hard to catch up, so please cut Dusted some slack for not getting to Let Night Come on Bells End the Day until now. The Canadian composer and multi-instrumentalist has followed All My Circles Run, an all-acoustic minimalist chamber piece, with an overdubbed solo recording for electric organ, acoustic piano, Mellotron and synthesizers. Like some ecclesiastic initiate, she has followed a solitary path to arrive at a place that is one with the cosmos. Her slow-morphing tones, incremental melodies, and exquisitely voiced harmonies don’t just sound like they should be played in a chapel; they erect a virtual space around the listener that only lets the ineffable through.  If Andrei Tarkovsky was still around, he might be writing a movie to wrap around these sounds.

  DJ Koze — Knock Knock (Pampa Records)

Who recommended it? Patrick Masterson

Did we review it? Yes. Jennifer Kelly said it “has a humid, organic air, even its most rigorously electronic tracks seething with jungle-y vitality and caressing warmth.”  

Ian Mathers’ take:

Like a lot of his peers, DJ Koze has been active and prolific for years without ever putting out that much in the way of “proper” albums, which probably goes some way towards explaining why Knock Knock, only his third, sounds so relaxed, confident and casually accomplished. With stellar vocal turns by everyone from Lambchop’s Kurt Wagner to folkie José González to Róisín Murphy (who’s rarely put her imperious purr to better effect than on the two perfectly-matched tracks she’s on here), 16 tracks in total and a lengthy running time, Knock Knock feels like a bit of a Statement from the producer. Which makes it maybe even more impressive that some of the best stuff here (like the sad jam “Pick Up” with its perfectly deployed vocal sample, or the almost-Avalanches style “Baby (How Much I LFO You)”) is just Koze without a high-profile guest vocalist. The whole thing has a friendly warmth and subtle propulsiveness that makes for compulsive listening; if this isn’t Koze at the peak of his powers, it sure feels like it could be.

 Tashi Dorji and Tyler Damon — Leave No Trace: Live in St. Louis (Family Vineyard)

Leave No Trace: Live In St. Louis by Tashi Dorji & Tyler Damon

Who recommended it? Isaac Olson

Did we review it? Yes, Isaac said, "While these performances are undoubtedly chaotic, they never feel purposeless.”

Justin Cober-Lake's take:

That guitarist Tashi Dorji and percussionist Tyler Damon have a limitless supply of ideas isn't surprising, but it's remarkable how well they've organized them into sensible packages on Leave No Trace: Live in St. Louis. Neither of the quarter-hour tracks here are exactly linear, but they do progress both coherently and unhaltingly. “Leave No Trace” offers the most noise, with the first half of the piece continuously crescendoing. The disappearance of one artist or the other simply means the soloist has more volume to cover. The pair spend the last two minutes together, Damon crashing away while Dorji sounds like two guitarists fitting blips together.

“Calm the Shadows” works differently. While not a suite, the song comes in sections, with Dorji and Damon filling in an outline as they go. The pair respond to each other, and work mutually on an unpredictable but discernable path. The slow build to the noisy section lets the chaos function as a thesis statement with the back half of the track the understanding of what to do with it. Dorji's pointed playing through that section answers the early rumble without making anything easier. Damon's sounds complete the thought. When “Leave No Trace” works so hard to slowly heap sounds before smashing through it all, the effect is amplified but the control of its predecessor. Dorji and Damon are a few albums in now and, while there wasn't much doubt from the start, they seem to be working in a rare place right now.

 Holland/Parker/Taborn/Smith—Uncharted Territories (Dare2 Records) 

Who recommended it? Derek Taylor

Did we review it? Not yet.

Jennifer Kelly’s take:

It feels like a math puzzle. How many distinct ensembles including duos, trios and quartets can be formed out of four musicians?  But hearing it in practice as master bassist Dave Holland, free jazz titan Evan Parker, pianist Craig Taborn and drummer-vibe-ist Ches Smith assemble and disassemble into improvisatory groups is quite another thing. “Trio No Tenor” on disc one takes a luminous shimmer from jangling metallic percussion, abstract interpolations of piano and the shape-shifting tone of plucked, hanging bass tones. “Duo Bass Tenor” on disc two is far more fluid and contemplative, as long bowed bass notes underline the fluttering explorations of sax; its two old friends finding space in each other’s musings, darting in to challenge and interject and locating points of agreement even in occasional dissonance. The quartets, though, are the most astonishing, (I like #5 from Disc 2), as extraordinary, unruly energies careen off one another, extemporizing, reacting, reaching over and in between each other in a dense mesh of sound that seems, nonetheless, uncrowded and precisely choreographed. Only three cuts were composed ahead, the rest worked out in two days of live improvisation. Uncharted indeed.

 Quin Kirchner — The Other Side of Time (Astral Spirits)

The Other Side of Time by Quin Kirchner

Who recommended it? Bill Meyer

Did we review it? Yes, Eric McDowell said: “ Kirchner sidesteps novelty and navel-gazing by putting pyrotechnics second to, well, music.”  

Jennifer Kelly’s take:

Kirchner leads from behind on this sprawling two LP solo debut, his drumming feverishly hot but held in check so that others — saxophonist Nate Lepine, bass clarinet player Jason Stein, trombonist Nick Broste and Matt Ulery — can take the spotlight. Interplay between the two reed players is intricately, acrobatically fine. In opener “Ritual,” Lepine jets off with Stein in hot, asynchronous pursuit, Kirchner executing a furiously syncopated undertow, part samba shuffle, part continually exploding roll. “Brainville,” the Sun Ra cover, swings and swaggers, bass and drums in arch, stylized conversation. Kirchner is, maybe a drummer’s drummer, but this is not a drummer’s record, except on two lovely, timbrally varied “Drums & Tines” tracks, where layers of kit rhythms and kalimba intersect in fascinating geometric patterns. Kirchner clearly reveres another band leader whose instrument didn’t always occupy the top of the mix; Mingus’ “Self-Portrait Three Colors” cuts the drums to brush-on-snares, while giving Broste a chance to wail, the two reedists to evoke lush dance-hall sensualism, the bassist to pluck out dark blots of body-moving tone. Kirchner is not the façade, but the architect and also the guy who holds up the building.

 Joelle Leandre & Elisabeth Harnik — Tender Music (Trost Records)

Tender Music by Joelle Leandre / Elisabeth Harnik

Who recommended it? Eric McDowell

Did we review it?  No

Isaac Olson’s take:

The best part of listening to improvised music is hearing the moment when the musicians lock in and the music takes on a life of its own, when the thrill of discovery dissolves the boundaries between performer and audience. There are many such moments on Tender Music, an improvised set from bassist Joelle Leandre and pianist Elisabeth Harnik. A few examples: the swelling tension that emerges at the one and a half minute mark of “Ear Area I,” the rising anxiety and tentative conclusion of “Ear Area IV”’s final minute, and the march that closes out “Ear Area VI”. Between these peaks, Leandre and Harnik evoke Cecil Taylor, Morton Feldman, blues, bop, classical and more, sometimes all within the space of two or three minutes. Fortunately, Leandre and Harnik are attentive enough players that their restlessness never comes at the cost of coherence. Leandre and Harnik are formidable soloists whose use of extended techniques coax ear-tickling, unexpected timbres from their instruments, but it is when they’re playing together, and more or less “normally,” that Tender Music is at its best, that the melodic and rhythmic invention of both players shines brightest, and that they’re able to speak to each other, and to us, most clearly.

#marisa anderson #the armed #bardo pond #cutworms #sarah davachi #dusted magazine #mid-year 2018 #dj koze #tashi dorji #tyler damon #dave holland #evan parker #craig taborn #ches smith #quin kirchner #joelle leandre #elisabeth harnik #midyear

[burlveneer-music]

My WVUD playlist, 12/26/2020

Blameful Isles - Chrysocolla Organic Pulse Ensemble - Long Time of Darkness Oiro Pena - Pada Lala Beverly Glenn-Copeland - Transition Four / Deep River Matthew Halsall - The Energy of Life Sun Ra Arkestra - Satellites Are Spinning / Lights on a Satellite Quin Kirchner - Moon Vision Idris Ackamoor & The Pyramids - Theme for Cecil Michael Kiwanuka - Light Mineral King - In Search of the Lost Magic Marker Rob Mazurek & Exploding Star Orchestra - Autumn Pleiades Contours & Yadava - Start First Finish Last Mildlife - Rare Air Sault - Son Shine Photay - Warmth in the Coldest Acre Mark de Clive-Lowe - Motherland Andrew Ashong & Kaidi Tatham - Eye Mo K Planet Battagon - Race to WEYNOT Snow Nerds - Pocket Monster

#wvud #playlist #permutations

[diyeipetea]

Greg Ward's Rogue Parade (Jimmy Glass Jazz Festival 2019. Valencia. 2019-10-24) [Concierto]

Greg Ward’s Rogue Parade (Jimmy Glass Jazz Festival 2019. Valencia. 2019-10-24) [Concierto]

Por Txomin Dambo.

Fecha: 24 de octubre de 2019.

Lugar: Jimmy Glass Jazz Bar, Valencia.

Grupo: Greg Ward’s Rogue Parade Greg Ward: saxo alto Dave Miller: guitarra Matt Gold: guitarra Zach Lover: contrabajo y bajo eléctrico Quin Kirchner: batería

Al llegar por la calle Baja me encuentro con que en la puerta del Jimmy Glass ya se acumulan algunos corrillos de aficionados. Cuando llego compruebo que…

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#Dave Miller #Greg Ward #Greg Ward&039;s Rogue Parade #Matt Gold #Quin Kirchner #Txomin Dambo #Zach Lover

[wildhotels]

Still been catching up on a lot of 2018 releases over the last six weeks, and I have now made a list of my favorite records/eps, singles and comps from 2018. Bandcamp linked where applicable. my list from 2017 is here Alvar - I Sew A Blanket Of All The Broken Clouds Aos - Violent Light BMG* & Derek Plaslaiko - Acid Series Vol 4 Carly Barton - Vidya World 8 Cygnus ‎- Ne0 Ge0 Drew McDowall ‎– The Third Helix Future - Beast Mode 2 Gnork - Magic Arp Hieroglyphic Being ‎- The Language Of Strings Vol 4 HVL ‎- Ostati J Mono - Redate Lady Blacktronika - Wax Cylinder Only Lamusa II ‎- Vago Libero Lil Mofo Business - basically every mix they brought out in 2018 Maoupa Mazzocchetti ‎- Gag Flag Marie Davidson - Working Class Woman Mattheis ‎- Thin Sections Mozzy - Gangland Landlord Odd Shy Guy & Rose Again - Bristol NormCore Quin Kirchner - The Other Side of Time Route 8 - 303 Exercise Teresa Winter ‎– What The Night is For Topdown Dialectic - Topdown Dialectic Various ‎- CULTED001 Various ‎- Det Är Grymt I Norr Various ‎– From The Dark Volume 1 on Cultivated Electronics Various ‎- Stages of Grief Vol 1. 'Convalesence' on Vaknar WAV FUZZ, Krycek ‎- BootlegFM Rap Singles: 03 Greedo - Fortnite Aidonia - VVS   Don Toliver - Back End   Sada Baby & Drego - Bloxk Party Yhung T.O. -  Betrayal Young Thug - To Me Comps: •ГАР001: Михаил Чекалин - Экзальтированная Колыбельная 1979 – 1987 •Carola Baer - The Story of Valerie •Kale Plankieren - Dutch Cassette Rarities 1981 - 1987 Vol​.​2 •Industrial Landscapes From The Hungarian Electronic Underground by Hungarian Old School EBM Clan •La Contra Ola - Synth Wave & Post Punk From Spain 1980-86 •Nouvelle Ambiance! Sounds from the Pan-African Paris Underground •Onda De Amor (Synthesized Brazilian Hits That Never Were 1984-94) •Paris to Calcutta: Men and Music on the Desert Road •Satan In Love – Rare Finnish Synth-Pop & Disco 1979-1992 •Switched-On Eugene on Numero Group •Tokyo Nights (Female J-Pop Boogie Funk: 1981 To 1988)

[these-summer-nights-in-december]

Christopher & Brian Citro "Smell of Wet Earth Like the Inside of My Hands"

Poem & Video by Christopher Citro 

Music by Brian Citro

~Poem from If We Had a Lemon We'd Throw It and Call That the Sun (Elixir Press, 2021) 

Brian Citro has been playing and writing music on guitar for 30 years. A long-time member of The Drastics, he’s performed and toured with JC Brooks and the Uptown Sound, Ted Sirota’s Heavyweight Dub! and others. With Charles Gorczynski, Nate Lepine and Quin Kirchner he made music as Salamander and Video Gum Culture. Brian is also an international human rights lawyer and has lived, travelled and played music in Africa, Asia and Europe. 

Christopher Citro is the author of If We Had a Lemon We'd Throw It and Call That the Sun (Elixir Press, 2021), winner of the 2019 Antivenom Poetry Award, and The Maintenance of the Shimmy-Shammy (Steel Toe Books, 2015). His awards include a 2018 Pushcart Prize for Poetry. He lives in Syracuse, New York.

#Christopher Citro #Brian Citro #Smell of Wet Earth Like the Inside of My Hands #poets on tumblr #writers on tumblr #poetry #original music #poetry video #poem video #original video #original film #Citro #poet #poets #poem #poems #trees #If We Had a Lemon We'd Throw It and Call That the Sun #poetry reading #Christopher and Brian Citro #Elixir Press #lit #literature #poetry reading video #youtube #writing #reading