Released in 2011 on Blackest Rainbow Format: LPx2, 180g Ltd. to 750 copies
Released in 2007 on Eclipse Records Format: LP Includes 12″x24″ insert
Originally released in 1993 on Duophonic Records This pressing was released in 2012 on 1972 Records Format: LPx2
Released in 1971 on Reprise Records Format: LP White label promo copy
Doug McComb’s first album as Brokeback is imbued with pastoral Impressionism, experimentalism, and a sense of Zen contentment. The record is mostly centered around his Bass VI, a short-scale bass with six strings that is trebly enough to function in both guitar and bass roles. This versatile instrument is usually wet with chorus and reverb that sculpt a fluid, aquatic tone to complement the slow, tranquil melodies. Outside of some solo pieces Doug is joined by a variety of accompaniment including lap steel guitar, synth, upright bass, Rhodes, vocals from Mary Hansen, and light percussion provided by producer/Tortoise bandmate John McEntire. This is a record that can be appreciated from a passive impressionistic standpoint, as well as under the microscopic attention of an engaged ear. (Follow link for full review)
Recommended for fans of Tortoise or Ennio Morricone’s spaghetti Western soundtracks
Released in 1996 on Happy Go Lucky Format: 12″ EP
Originally released in 1979 on Piano Records 2016 Modern Classics pressing on Light I’m the Attic Records Format: LP, includes … More
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.
Released in 2007 by Gold Standards Laboratories Recorded November 2005 in Amsterdam Format: LP
Released in 1970 on Transatlantic Format: LP Original UK pressing
Released in October, 2001 on Constellation Records. Recorded at the mighty Hotel2Tango Format: 10″x2
Released in 1968 on Warner Bros.
“Side one features a collection of songs performed by a pliant and almost pristine quartet playing songs by Ornette Coleman, Paul Motian, Chris Schlarb, and Shadduck himself, while side two finds Anthony leading a loose, rocking and roiling double quartet performing more obliquely structures pieces and employing a healthy dose of spontaneous improvisation. Both ensembles strike my ear as CLASSIC, spanning the areas of jazz impressionism and edgy-yet-controlled “free jazz” with dedication and distinction.”
[From the liner notes, written by Nels Cline]
Released in 2009 on Strut Format: LPx2
Originally Released in 2007 on Ipecac Vinyl released in 2008 on Black Diamond Format: LPx2
Released in 2015 on Sargent House
Released in 2002 on Holy Mountain Format: LP
Originally released in 2008 on Southern Lord 2014 Pressing Format: LPx2, Red Vinyl
Released on Stones Throw in 2004 2006 repress Format: LPx2
A far cry from the sparse folk usually recorded by Will Oldham, “Epic Jammers and Fortunate Little Ditties” finds his intimate voice and warbly acoustic guitar enveloped by the cosmic drones, blooming synths, airy flutes, and hypnotic tape loops of Chicago new age trio, Bitchin Bajas. The lyrics are essentially fortune cookie mantras and, while there’s a chance they’re tongue-in-cheek, it’s difficult not to smile and feel a brightening of the spirit when hearing uplifting phrases like “Your hard work is about to pay off, keep on keepin’ on” or “you and your whole family are well” get repeated over and over. This collaboration is a soothing, heartwarming listen and a refreshing change-of-pace from Oldham’s tendency towards melancholy and solemn lyrical content.
Pulling away from the jazzy psych-pop of their first two albums, Soft Machine gears towards sprawling sidelong compositions of spacey prog infused with thematic jazz fusion improvisations, compositional edits, and heavy doses of experimental post-production (for the more psychedelically inclined). Motivic electric-bass grooves, multi-tracked saxophones, loose swinging drums and fuzzy organs reign supreme. The whimsical and diverse musical nature of founding member/drummer Robert Wyatt was relegated to the eclectic C-side, “Moon in June”, which was his last composition for the band due to the other members not being a fan of his vocals and preferring the seriousness of jazz fusion to Wyatt’s child-like playfulness and spontaneity.
Released in 2014 on Stones Throw Format: LPx2
Released in 1974 on Virgin Records
Darkly cinematic rock instrumentals with some creeping, Dostoevskian vibes. This is probably the most meticulous and progressive album I’ve heard from these guys, who are always finding new ways of funneling their omnivorous library of influences into their dramatic and atmospheric psych rock stylings.
“Side A is cut at 45rpm and features “Moya”, a broiling cascade of upward scales that repeatedly explodes beyond its own threshold. “BBF3” on Side B clocks in at 18 minutes, and was the band’s most lyrical, multi-movement music to date — more elaborated melodic figures wind around an angry spoken-word field recording (infamously culminating in the recital of the speaker’s poem — verses lifted straight from Iron Maiden)”
“World Music” is often a cheap umbrella term for non-Eurocentric music, but when acoustic guitar shredders Jorge Strunz and Ardeshir Farah, from Costa Rica and Iran respectively, bring together a Cuban rhythm section, South Indian violinist, and Kuwaiti guitarist, the music they create truly does have a sense of cultural unity deserving of the term.
For fans of flamenco, Arabic folk, and acoustic guitar virtuosity
Originally released in 1969 on MPS Records 1972 BASF Pressing Format: LP
“Recorded during the same session as last year’s sublime Angels of Darkness I, the followup sees Dylan Carlson’s Earth take their panoramic instrumentals, heavy on improvisation this time, into uncharted territories. As with so much of Carlson’s work, these five songs suggest a mournful last dance in the decrepit roadhouse of some faded midwest mining town. But its the little flourishes that make them truly majestic: the droning psyche-folk thrum of His Teeth Did Brightly Shine; the country twang and graceful melodies of A Multiplicity of Doors”…”
After 20+ years of using his introspective songwriting as a playground for psychedelic lo-fi experimentation, underdog hero Emil Amos hands the production reins to John Angello (Sonic Youth, Dinosaur Jr.) for his most polished album yet, capturing the best aspects of 70’s rock classics without ever feeling cliché. The hi-fi analogue production brings a newfound clarity and depth that allows Amos’ songwriting and instrumental performances to bloom; the choruses are anthemic, the atmospheres are darkly psychedelic, and his lyrics are just as philosophical and contemplative as ever.
This was released in 2017 on Black Truffle Records Recorded live on October 28, 2014 at SuperDeluxe Tokyo by Masahide … More
Released in 2014 on Invada Records Format: LPx2 Tannum Brown vinyl, limited to 1000 copies
Released in 1969 on Elektra Records
No Other is a masterpiece of Cosmic Americana from Gene Clark (Ex-Byrds). Here his amazing songwriting is complemented by lush instrumentation, psychedelic production, and grandiose choir arrangements.
Released in 2015 on Drag City Composed using Ben Chasny’s Hexadic System
On Towards Language, Norweigan trumpeter Arve Henriksen creates a blend of meditative and suspenseful ambient-jazz, demonstrating a more soothing side to his playing than his noisier output with electro-acoustic improvisers Supersilent.
Originally released in 1974 2018 Earth Records Pressing Digitally Remastered Format: LP
Released in 1977 on RCA Recorded live on a European tour in 1963 Format: LPx2
Originally released in 1969 on Columbia Records 1977 Pressing
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.
Released in 2018 on Domino Records Format: LPx2 Includes 12″x12″ glossy lyric and photo booklet
Released in 2018 on P.W. Elverum & Sun Records Format: LP
Released in 2018 on Thrill Jockey Records Format: LPx2, Metallic Silver Vinyl
Released in 1999 on These Records Originally recorded for BBC in 1977
Released in 1966 on World Pacific Records Recorded in 1956
Released in 2018 on Columbia Records Recorded September and December, 1974
Released in 2015 on Partisan Records Recorded 2003-2005
There is a fathomless void within each of us. And while many choose to run from it, clinging to anything to keep from falling in, Deradoorian dove right in on her meditative release, Eternal Reccurrence. Here she provides somewhat of a sonic roadmap for diving deep within yourself, guided by the blooming drones of harmonium, Juno synthesizers, and flutes. Arising from the ether, layers of otherworldly voices sing mantras of facing our Shadow (“Mirrorman”), finding the love that resides in the core of our being, and bringing it back with us into this material dimension.
Spacious, Raga-inflected improvisations from Collin Walcott, Don Cherry, and Brazilian percussionist Nana Vasconcelos. Walcott has studied sitar directly under Ravi Shankar, and tabla under Alla Rakha, while trumpeter and flutist Don Cherry, after playing regularly with Ornette Coleman, has proceeded to travel around the world to study various musical traditions. Their wide influences come together organically to create meditative and exploratory music. A melodic and atmospheric fusion of airy flutes, watery sitar, hypnotic hammered dulcimer arpeggiations, driving webs of percussion, and bassy throat singing.
Originally released in 1968 on EMI 1986 Fame Pressing
Eric Chenaux’s gentle falsetto is the most constant, tangible element on an album characterized by a permanent state of flux. The guitars are warbly and unsteady with their fluctuating tones, volume, and pitch. Yet, despite their experimental nature, they never sound abrasive and, together with some mellow Wurlitzer, create a soft, pillowy environment for Chenaux’s romantic crooning about the nature of love, the moon, and warm nights.
Dynamic and uplifting house music characterized by filtered drums and enveloping synth textures. With its driving arpeggiations, danceable 4-on-the-floor grooves, hypnotic build-ups, and soothing ambient tracks, Singularity is extremely well-paced, and it’s most beautiful moments full of sublime wonder.
Released in 2004 on Constellation Records Format: LPx2, Side D is blank
On Automaginary, the Gnawa-inspired cosmic jazz of Natural Information Society is augmented by the flowing textures of Chicago new age trio Bitchin Bajas to create an album of enveloping drones and trance-inducing rhythms. (Follow link for full Review)
Released in 1974 on Virgin Records Original U.S. Pressing, Promo Copy
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
Originally released in 1996 on Thrill Jockey Records 2012 pressing
An Angel Fell is a call to action for protecting and healing our planet, using folklore, group vocals, uplifting themes, deep grooves, and expressive improvisations to deliver the message. While not as wild and loose as the dense free jazz the Pyramids made back in the 70s, this record is an organic and vibrant fusion of spiritual jazz, dub, and Afrobeat that will give fans of musical geniuses such as Sun Ra, King Tubby, Fela Kuti, and Pharoah Sanders plenty to vibe to.
An acoustic trio of piano, upright bass, and drums utilize creative extended techniques to play evolving minimalist compositions of mutating grooves, polyrhythms, and textures.
Released in 1966 on Blue Note Records 1971 United Artists Repress Format: LP
Released in 2010 on 4AD Records Format: LP, white vinyl
Originally released in 2002 on Secretly Canadian 2014 deluxe reissue Format: LPx2 (full album on first LP and demos on … More
Released in 2014 on RCA Records Format: LPx2 Includes 12″x12″ lyric booklet
Categorization and comparison are the least of lojii’s worries, instead prioritizing creative expression and finding spiritual truth and power in this dimly lit dystopia. He delivers his prophetic words with a focused, unwavering determination, while the beats are gritty and nocturnal with their open percussion, eerie synths, and negative space. Don’t miss out on this one.
Released in 2011 on Sub Pop Records Produced by Phil Ek and Fleet Foxes Format: LPx2 Includes large foldout poster
Originally released in 2010 on Columbia Records 2014 RSD pressing Mastered from original analogue tapes No. 1175/4000 Format: LPx2, 180g
On this mournful offering, Cave’s poetic reflections on loss, longing, and loneliness slowly float down a river of gloomy synth drones, somber strings, and sparse piano. While not exactly uplifting, the album has a sense of peace and beauty that continues up through the repeating final refrain, “and it’s alright now”.
Recorded August 19-21, 1969 Originally released in 1970 on Columbia Records 2008 Legacy Pressing Format: LPx2
Groovy soul instrumentals decorated with sweeping orchestral arrangements, jazz soloing, and psychedelic guitars, all inspired by William Blake’s writings.
Originally released in 1989 on Fiction Records 2010 pressing, Digitally Remastered by Robert Smith Format: LPx2
Enveloping blankets of piano and synthesizers that are mostly beautifully soothing, but occasionally venture down shadowy alleyways full of eerie suspense.
A unique blend of post-rock, stoner rock, and shoegaze crafted into a cohesive, perfectly fluid 25 minutes. Hallucinogenic atmospheres, shadowy guitar effects, and mysterious pitch-shifted vocals envelope driving, stoner-fuzz bass lines that often liquify into the watery chorus-bass you might find on the Cure’s Disintegration or an Isis album.
“Four relentless bouts of inspired fire music forged from the true spirit of free jazz, driven by searing poetic narrations of Black trauma, survival and power” (from press release)
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Originally released in 1995 on Mute Records 2015 Pressing
Review: Originally recorded in 1976, this psychedelic latin-jazz masterpiece never got a proper release due to both a lack of … More
Released in 1981 on ECM Records Recorded in concert in May, 1980 at Amerika Haus München, Germany Format: LPx2
Hailing from Jersey Island in the U.K., Astral Cloud Ashes’ sole member Antony Walker channels math rock, third-wave emo, post-hardcore, prog, and shoegaze through shimmering and melodic alternative rock.
For fans of Circa Survive, HRVRD, Dredg, Oceansize, Taking Back Sunday
Lushly cinematic folk-rock draped in sweeping string arrangements and spacey synth atmospheres. Damien’s reverbed falsetto recalls Jim James (My Morning Jacket) and Bon Iver as he softly sings of God, “spaceships”, and other imagery blending Christian themes with science-fiction.
For fans of My Morning Jacket, Band of Horses, and Beck’s Sea Change