Raw

Lonnie Holley – Mith

Style: Experimental Singer-Songwriter, Soul Blues, Psychedelic Soul

Vibe: Imaginative, Bluesy, Cathartic, Conscious, Cosmic, Spiritual, Heartfelt, Passionate, Psychedelic, Rootsy, Bittersweet, Poetic

Lyrical Themes: Existential, Afro-Futurism, History, Racism, Reflective

Musical Attributes: Atmospheric, Lyrical, Improvisation, Raw, Studio-as-an-Instrument

Instrumentation: Vocals, Piano, Synthesizers, Keyboards, Saxophone, Trombone, Percussion

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Joe McPhee – Nation Time

Originally released in 1971 on CjR Recorded December, 1970 Superior Viaduct Reissue (2019) Style: Free Funk, Free Jazz, Abstract Groove Vibe: Energetic, Triumphant, Groovy, Confident, Rebellious, Black Pride Musical Attributes: Collective Improvisation, Live, Loose, Raw

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The Microphones – The Glow Pt. 2

Style: Lo-Fi, Experimental Singer/Songwriter, Loner Folk
Vibe: Heartfelt, Imaginative, Introspective, Nature, Intimate, Loner, Bittersweet, Depressive, Psychedelic, Raw, Lonely
Lyrical Themes: Existential, Alienation, Breakup, Philosophical, Poetic, Personal, Death
Musical Attributes: Acoustic, Noisy, Studio-as-an-Instrument, Analogue Recording, lo-fi, Distorted

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Fly Pan Am – N’Ecoutez Pas

Released in 2004 on Constellation Records Format: LP Style: Experimental Rock, Post-Rock, Noise Rock Influences: Kosmische Musik, Shoegaze, Post-Punk Vibe: Chaotic, Noisy, Anxious, Messy, Spacey, Exploratory, Abstract Musical Attributes: Repetitive, Dense, Rhythmic, Studio-as-an-instrument, Sound Collage

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Ought – Sun Coming Down

There is a certain beauty just to being alive, and Ought make it their mission to find it through raw rock n’ roll that veers seamlessly between upbeat post-punk, meditative feedback drones, dramatic ballads, and cathartic guitar freak outs.

Recommended for fans of post-punk that blends the moodiness of Joy Division, Iceage, and Television with the experimentation and noisiness of This Heat and No Wave.

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Dirty Three – Horse Stories

The third album from the Melbourne (Au) violin/guitar/drum trio consists of loose, drifting instrumentals that conjure images of vast, open plains. Though the music here is often melancholic and lethargic, it is occasionally swept up with bursts of passionate energy and possessed by cathartic longing (especially the pleading and utterly beautiful violin solo on “Warren’s Lament”). All three instrumentalists have very individual styles that complement and dialogue with each other in refreshingly unique ways.

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Young Jesus – The Whole Thing is Just There

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.

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Yonatan Gat – Universalists

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.

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Massacre – Killing Time

Anxious and dissonant proto-math rock composed and improvised by a trio of innovative, idiosyncratic, and influential musicians. Guitarist Fred Frith pulls new dimensions of sound out of his instrument, blending bizarrely textured riffs with dark, noisy atmospheres. Bassist Bill Laswell is one of the great musical collaborators in all of music, often bringing together innumerable amazing musicians from all genres to create unique sonic fusions. Here, Bill and drummer Fred Maher lay down some nasty, disjointed grooves that lock you in despite their angular, asymmetrical time signatures

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