The Invisible Comes to Us is a haunting, modern take on Appalachian and Irish folk songs. Beautiful close-harmonies, banjos and acoustic guitars are juxtaposed with droning atmospheres of woodwinds, Moog bass, pump organ, and euphonium. Guest musicians include Jim White on drums and Susan Alcorn on slide guitar.
Rituals of the Moonlit Wood is a 100-minute vinyl mixtape for those unafraid to venture into the depths of the shadowy unknown….featuring nocturnal and ritualistic music of the acid-folk, drone, and experimental varieties.
While the luminescent drones and angelic simulacra of Deepak Verbera expanded out into the cosmos, Botany’s newest LP feels more rooted in the soil of our material reality. The bass heavy beats and impassioned vocal samples inspire movement and action rather than contemplation alone, not to say the results aren’t heady. Rich tapestries of resonant acoustic instruments (harps, flutes, percussion, strings), woozy synths, and warm tape hiss are as intricate as ever and easy to lose (or find?) yourself in. Recommended to fans of Flying Lotus’ Until the Quiet Comes, Boards of Canada, and Alice Coltrane.
While escapism is an understandable instinct in times of turmoil, The Spirits Will Shimmer encourages reflection on our current realities rather than turning a blind eye. New Balance’s Jeremy Leasure thoughtfully constructs a sonic cocoon of backwoods ambience from warped banjo improvisations and Casio synth atmospheres, foregoing the vivid lyrical imagery and lush arrangments of past releases. By offering a temporary respite from overstimulation, these meditative mood pieces carve out the space necessary to process the endless stream of information weighing on our hearts and minds.
The Common Task is an incessant barrage of jolting polyrhythms that simultaneously hypnotize and disorient.
Style: Experimental Rock, Math Rock, Post-Rock, Totalism
Vibe: Hypnotic, Surreal, Triumphant, Complex, Political
Musical Attributes: Microtonal, Polyrhythmic, Repetitive, Odd Time Signatures, Saharan Africa-Influenced, Technical, Instrumental
The free-form psychedelia and tribal “group therapy” of Sunburned Hand of the Man are in great hands with producer Kieran Hebden (Four Tet)—his dubs and cuts transform their usually lo-fi, meandering jams into something much more immediate, without losing any of their exploratory and spontaneous energy. Recommended for fans of polyrhythmic Afro-inspired percussion, dubbed out production, communal sound rituals, and dense psychedelia.
One can only imagine how Ayler bringing more commercial styles like R&B, Rock, and Gospel into his avant-garde music messed with critics and fans alike when it came out—the way it looked like commercial pandering to the Free Jazz listeners but was probably still too weird for new listeners. It helps to remember that Ayler came from R&B and went straight to the Free Spiritual Jazz of the early 60s, making Jazz critics highly skeptical skeptical by not climbing the bebop ranks like Coltrane before plunging into freedom. On New Grass, Ayler really started to synthesize the spiritual elements of many forms of Great Black Music, making more accessible music not as a way of selling out, but a way of sharing his beautiful spiritual message and sound with a wider audience. Plus this thing has Bernard Purdie on drums so of course it slaps.
If you dig this LP, I think he succeeded in this sound direction even more on his following albums Love Cry and Music is the Healing Force of the Universe. Albert Ayler was a pure soul that left this world too soon, grateful for the gifts of music and wisdom he left behind.
“There is a heightened and sustained sense of intuition running through this recording whose sonic palette is so wide it captures – through soundscaping, invocation, lament, impressionistic vocal weaving – not only the transient and hybridised nature of life in Johannesburg, but also the heaviness of the air at the time of its recording. More ambient, controlled swirl of rhythm and experimental mixing than incessant groove, the album is an outpouring of a range of expressions that exist between the supposed binaries of indigenous forms of music and the electronic experimentation Johannesburg is known globally for.” (from Bandcamp)
Listening to Alex G, one might imagine a young alien sitting alone in his martian bedroom baring his angsty, teenage confessions to his 4-track tape recorder. Yet, at the core of his music, underneath layers of psychedelic guitars, weird pitch-shifted vocals, and occasional lo-fi hiss, lies some genius pop songs that feel simultaneously adolescent and mature.
Recommended for fans of lo-fi experimentation and bedroom pop. Alex seems to pull influences from all over and channel them through his own unique personality and penchant for odd, psychedelic production. Recalls Elliot Smith’s loner acoustic songwriting and drum machines pulled from 80′s pop songs; there’s even a fucked up jazz piano ballad thrown into the mix.
This impressionistic and contemplative collaboration channels deep American folk roots through free flowing improvisations. The panoramic and sensitive drumming of Jim White (Dirty Three, Cat Power, etc) is a perfect match for Marisa Anderson’s primitivist guitar sensibilities, which feel both immediate and abstract.
An obscure release from the great creative label ESP-Disk, containing exploratory, mysterious and playful improvisations from The Sea Ensemble—the husband/wife duo of Zusaan Fasteau and Donald Rafael Garrett. While they are both trained musicians and multi-instrumentalists, an uninhibited childish spirit permeates this release, as can be seen in Donald’s crude but visionary cover drawing; Yet the recording also feels imbued with ancient wisdom, as heard in their primal and instinctive vocalizations throughout the album
These communal sound rituals express a digital-era longing to reconnect to the Earth. The grooves here are circular and ceremonial, not rooted to any specific musical traditions but borrowing from many, including cosmic jazz, kosmische musik and undoubtedly inspired by Holden’s collaboration with legendary Gnawa musician Maleem Mahmoud Ghania. Drums and percussion ground the proceedings while muscular sequencer and fiery saxophone arpeggiations hypnotically intertwine. The sounds of fluttering recorder and modular synthesizer swirl through the air like offerings to the cosmos.
Recommended for fans of The Comet is Coming, Tonto’s Exploding Head Band, Maleem Mahmoud Ghania & Pharoah Sander’s Trance of Seven Colors, Natural Information Society, Colin Stetson
Religious allegory, profane thoughts, and lustful confessions intertwine on Human Behavior’s third LP; Kedimum is a brooding suite of psychological chamber folk that introspects into a conflicted mind, struggling to reconcile matters of indoctrinated faith, natural human desires, and internalized guilt. Primary songwriter Andres Parada is joined by a sympathetic cast of vocalists to create a vivid sonic drama complete with choral vocals and spoken word passages to complement his haunting narrations. The intricate and shadowy arrangements blend distorted electronic beats with a wide array of acoustic instrumentation, including banjo, clarinet, accordian, acoustic guitar, violin, ehru, and cello.
“The five-piece band synthesise contemporary classical forms – most often recalling Steve Reich or Philip Glass – and marry them to the looseness and improvisational nature of jazz and the dynamics of head-nodding electronic music. Stateless is at once both carefully composed and freely flowing. The compositions included here are more about rhythm, texture and contrast than definable melodies and harmonic structures.” – Scott Wallace [Sydney Scoop]