Originally released in 1971 on United Artists Records Unofficial pressing on purple and brown marbled vinyl Format: LPx2
Released in 1966 on Impulse Records Original Pressing
Originally released in 1993 on Duophonic Records This pressing was released in 2012 on 1972 Records Format: LPx2
Released in 2007 by Gold Standards Laboratories Recorded November 2005 in Amsterdam Format: LP
Originally Released in 2007 on Ipecac Vinyl released in 2008 on Black Diamond Format: LPx2
Released in 1973 on Blue Thumb Records Format: LP, Quadrophonic Pressing
The Whole Thing is Just There is another beautiful and life-affirming release from Young Jesus, the second with the current L.A. iteration of the band. Their inter-band chemistry seems stronger than ever, with telepathic improvisations, symbiotic catharses, and a mutual love for each other that is easily felt from a listener’s perspective. The lyrics deal with self-exploration and one’s relationship with the world around them, finding solace in spirituality, existentialism, literature, and the ethos of free jazz. Stylistically the music seems rooted in late-90’s indie rock and emo, with seamless but adventurous detours into post-rock, noisy post-hardcore, and free improvisation. Excited to see where these guys go next.
Discpline marks the first in a trilogy of complex prog-meets-new-wave masterpieces that have been relished by anxious overthinkers for decades…featuring polyrhythmic riffs, innovative guitar textures, overwrought sing-talking, and a strong inter-band chemistry.
The new album from guitarist Yonatan Gat finds cohesiveness in its sprawling diversity. Stylistically it combines the rawness of garage rock, the thematic improvisation of Free jazz, and the experimental editing of musique concréte with psychedelic production, Arabic and Klezmer scales and surfy tremelo guitars.
Originally released in 2010 on Columbia Records 2014 RSD pressing Mastered from original analogue tapes No. 1175/4000 Format: LPx2, 180g
Released in 1981 on ECM Records Recorded in concert in May, 1980 at Amerika Haus München, Germany Format: LPx2
Recorded live at Cafe Monmartre in Copenhagen, Denmark on November 23, 1962 Released in 1976 on Arista Records
Released in 1959 on Atlantic Records 1970’s Pressing
Released in 2007 on Young God Records Format: LPx2
Released in 2002 on Arts & Crafts Records Format: LPx2
Information: Released in 1974 on Milestone Recorded on July 7, 1973
Information: This album was released in 1969 on Bizzarre Records
Fuzzy riffs, driving rhythms, and spacey synths tear through the speakers like a blistering comet through the solar system.
For fans of Black Sabbath, Neu!, Jethro Tull
Album Information: Originally released in 1970 on Atlantic Records 1974 Repress
Psychedelic post-punk from Chicago with noise rock dissonance, free jazz sax freak outs, Rhodes keyboards, proggy time signatures, and anxious vocals drenched in delays.
Album Information: Released in 2009 on Rodriguez Lopez Productions Artwork by Sonny Kay Recorded on the E-Clat Morgue Portable Disaster … More
Acoustic-shredder/singer-songwriter ventures out of the jazz-inflected folk-rock territory explored by his last few albums to create something that feels fully himself. Deafman Glance is full of angular left turns, complex structures, airy flutes, jazz detours, and psychedelic atmospheres. A balance of great songwriting, jazz musicianship, and experimental/art-rock tendencies. Recommended to fans of Tortoise’s Standards, Tim Buckley’s Starsailor, and King Crimson’s Red. (Click for full review).
Taking a detour from his usual loner-droner psych folk style, Ben Chasney enlists former Comets on Fire bandmates to jam some heavy rock burners with a a cosmic amount of electric guitar shredding, evoking Neil Young & Crazy Horse blasting off on a rocket. The new electric energy brought to this album is balanced out by an equal amount of the fingerpicking prog-folk and meditative acoustic ballads that have been developing in his music since the 90’s. While I will always love his more melancholy, nocturnal records that sound like he’s lost in a forest somewhere, I welcome the fiery energy of Ascent.
This double album set is recommended to anyone looking for extremely primal, complex punk rap with a wide range of influences, including industrial hip-hop, IDM, math rock, noise, and psychedelic rock. Fans of experimental, aggressive hip-hop like Dälek or Public Enemy will probably really dig this, as will fans of math rock for the extremely innovative musicianship and intricate interplay of Death Grips’/Hella’s Zack Hill and Tera Melos’ Nick Reinhart (who plays on 5 of the tracks).
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Album Information: Released on Milestone Records in 1972
Album Information: Released in 2009 on Downtown Music Exposion originally released in 2008 and is included as a bonus LP … More
Shakti means “Creative Intelligence, Beauty & Power” and trust me, these are all in abundance on these devotional jazz ragas. Featuring John McLaughlin joined by a quartet of Indian master musicians, this album is a blissfully uplifting and meditative release.
In this energizing exploration of Hindustani classical music from a jazz perspective, John McLaughlin joins a virtuosic trio of Indian musicians who inspire some of the most impassioned and impressive playing of his career. His acoustic guitar shredding veers close to the bendy sounds of the sitar and fits nicely with the dense web of percussion created by Vikku Vinayakram and Zakir Hussain. Violinist Lakshiminarayana Shankar’s emotive themes and fiery solos make him a perfect foil to McLaughlin.
Album Information: Released in 2007 by Polyvinyl Record Co
An anxious, eccentric celebration of the mundane informed by post-punk, noise, no wave, and drone.
This album is full of energetic, psych-prog maximalism that occasionally settles down into (relatively) slowed down, spacious grooves. I recommend this to fans of The Mars Volta or anyone looking for a manic blend of psych, prog, fusion, punk and latin influences.
A couple of months before his death in 1967, John Coltrane went into the studio with drummer Rashied Ali to record some of the most free recordings he’s ever made, the freest of free jazz. Perhaps this freeness is due to the absence of other tonal instruments, leaving Coltrane untethered to harmony and 100% free to play whatever raw, unhindered creativity flows through him.