#andrew forell

[dustedmagazine]

Dust Volume 11, Number 8

Ethel Cain

After a long, cold, occasionally snowy spring here in northern New England, we’re finally seeing some signs of life — little blue flowers in the lawn, the first dandelions, the shocking yellow of forsythia. Music, too, is pushing up new, crowded shoots as the winter doldrums elapse. We’re swamped in promos. We do our best.

This month’s Dust surveys a diverse landscape dotted with jittery dance and placid ambient music, torrid death punk and obliterating doom metal. Let it all bloom, we say. It’s up to you to pick the ones that appeal to you.

This month’s contributors include Andrew Forell, Tim Clarke, Ian Mathers, Jonathan Shaw, Bill Meyer, Jennifer Kelly, Bryon Hayes and Jim Marks. Happy spring.

Damian Anache — Lento, en un jardin reticular (Inkilino)

Damian Anache’s explores the tension between composition and improvisation. Working from a minimal palette of drone, voice, click and buzz, Anache conjures his music from the very atoms of sound. His real time manipulations involve the play of these elements creating fluctuations and juxtapositions that move between near silence and crescendos that scratch the air and seem to fold in upon themselves. Anache has an uncanny ability to untether his sounds from reality and as he molds his material, patterns take form. The simple contrast of the glacial timbre at the core of “La Llanura de las esferas” with its spectral echo creates flickers as the friction of the drones creates heat. He begins “Obvio y obtuso” with a disembodied choir which dissolves to what sounds like vocal clicks testing a rhythm over a wounded calliope, the choral sounds return, diced, denatured and reduced to uncanny emanations beyond language. An often perplexing but totally enthralling listen.

Andrew Forell

Billow Observatory — The Glass Curtain (Felte)

The duo of Jason Kolb (Auburn Lull) and Jonas Munk (Manual) have been collaborating for nearly 20 years now, but their music remains largely the same: glacial ambient, patiently constructed out of gently lapping pedaled tones, with textural embellishments that offer some welcome grit. In my Dusted review of their last release, 2022’s Stareside, I summarized its appeal thus: “hazily drifting ambient immersion, peppered with enough rhythmic momentum to prevent the music from drifting off into the aether”. In contrast, The Glass Curtain is a beatless experience, leaving the listener unmoored and floating. “Systol Nightshade” threads the sound of rainfall into the mix, but the majority of the album sounds abstract and free of reference. It’s a translucent, radiant space, but a little lacking in personality.

Tim Clarke

Ethel Cain — Perverts (Daughters of Cain)

There are all sorts of reasons Hayden Anhedönia might have called her 90-minute follow up to 2022’s cultishly adored Preacher’s Daughter an EP; artistic expression, expectation management (especially since Perverts is not actually the second instalment in the promised trilogy of Ethel Cain LPs), rent-lowering gunshots, an honestly pretty funny joke. But none of the explanations detract from the quality of the pestering drones and wracked ambience found on these nine tracks. The more song-esque efforts (“Punish,” “Vacillator,” even the closing 11:32 of “Amber Waves” with Midwife’s Madeline Johnston on guitar) sound like that first album stretched out like taffy and left to wither in the sun. The more abstracted material (“Housofpsychoticwomn,” “Pulldrone,” “Thatorchia”) is possibly even stronger, equally beautiful and harrowing; despite the extended lengths, it never wears out its welcome. The next actual Ethel Cain album, August’s Willoughby Tucker, I'll Always Love You, justly has a lot of expectations and anticipation swirling around it. But for a certain kind of listener, Perverts might remain the high water mark of her work to date.

Ian Mathers

Clan Dos Mortos Cicatriz — Técnicas de Morte (Sentient Ruin Laboratories)

Brazilian death punks Clan Dos Mortos Cicatriz present Técnicas de Morte, a full LP of reverb-soaked, sorta-old skool hardcore tunes. Check out “Pregos Podres,” for example, and you’ll find yourself pulling up a stool in a dusty, crepuscular club on the other side of the River Styx and clinking highball glasses with John Stabb and Pig Champion. Check out the tape’s next track, “Nada,” and you’ll be bumping and grooving with the ghosts of Olho Seco and Discharge (at that latter band’s 1981 peak). That’s not to suggest that Clan Dos Mortos Cicatriz is intrinsically backward looking or bound by cynical logics of pastiche. The songs are too energetic, the riffs are too fast and nasty. They might have a morbid interest in technologies of death, but they’ll be on the user’s end of the apparatus. Y’all better turn it up and then light out for the horizon — the psychopomp has a “Pacto Diabólico” for you to sign.

Jonathan Shaw

Decrepisy — Deific Mourning (Carbonized)

A death/doom band that’s extra heavy on the doomy ponderousness, Decrepisy makes music that moves with grotesque deliberation. Kyle House’s bass is a massive presence, and Daniel Butler, House’s old bandmate in crusty Bay Area monstrosity Acephalix, does his inimitably awful thing on Deific Mourning, grunting and groaning and being generally disgusting. But Jonathan Quintana’s guitar is the revelatory presence here, quivering and then pummeling, a weirdo performance that creeps up on you and then swallows you whole. The band’s hulking, lumpish mode is enveloping in complementary fashion — you can just about feel the peristalsis, pushing you farther down into the moist, viscid dark. Check out the record’s second half, especially “Severed Ephemerality” and “Afterhours.” Yuck, dudes. Someone better get a bucket.

Jonathan Shaw

Dikeman / Hong / Lumley Warelis — Old Adam on Turtle Island (Relative Pitch)

The album’s title references a collision of creation myths, and the music involves both creation and re-creations. Expatriate American saxophonist John Dikeman’s music with Cactus Truck and Universal Indians exemplified his roots in free jazz fundamentals, but he’s also worked productively outside those boundaries, as in the dream team combo that drummer Sun-Mi Hong brought to Jazzfest Berlin in 2024. This concert recording is the first to present his work as a composer, and we might one day look back on it as a tentative first step, since the sequence of themes work as focusing tools for some excellent blowing over Hong and bassist Aaron Lumley’s surges and retreats. The most significant compositional decision was actually one of casting; pianist Marta Warelis simultaneously inhabits the music and operates outside of it, adding levels of commentary and enhancement.

Bill Meyer

ELKA BONG — Alpha Bete (Self-Release)

Elka Bong builds intricate puzzle palaces out of the tiniest pieces of digital sound, manipulating squeaks and blots and hisses and blurts to create ever changing unreal landscapes. Here in conjunction with bassist, improviser and here, knob twister, David Menestres, the duo of Al Margolis and Walter Wright are intent and serious, even at play, in four ten-minute episodes. “Reversal of the Overheated” is antic and unsettled, wrapping clinks of percussion and tootles of some sort of melodic instrument in static-buzzing clouds. “Sounding Brass or Tinkling Symbol” sputters and shrieks and corrodes inside your ears. A sound like sticks on clamped bells and altered voices provide some reality-grounding, but you are purposely directed away, towards the abstract dance of noisy sputter. “Keeping Up with the Jonses” inserts a vibrating, horror movie keyboard into its digital chatter and backtalk. And “The Scent of Time” waxes lyrical, with wiggling tendrils of synthesizer that gesture towards melodic solace, only to shrink back into themselves and curdle. Not an easy listen, but there are rewards for perseverance.

Jennifer Kelly

Good Sad Happy Bad — All Kinds of Days (Textile)

When Micachu and the Shapes morphed into Good Sad Happy Bad, they shed the nervous, jittery energy that drove their previous incarnation away from easy categorization. Their music retained enough of the weirdness that aligned the band with Animal Collective and similar kooky sonic wizards, but Mica Levi and their comrades let songwriting and hooks rise to the top of their unique brew. They also bathed their music with a sense of dreaminess. All Kinds of Days, the sophomore effort from Good Sad Happy Bad, continues this trend toward the calm. The songs reveal themselves with an effortless charm, bouncing along with traces of dub and jazz. Human experience drives the lyrical content, which is delivered by each of the four band members. This shift toward existential awareness is a mirror that Levi and the band use to encapsulate life’s turning points in song. In their hands, turmoil and grace intertwine, revealing a pleasant listening experience. 

Bryon Hayes

Hearts & Minds — Illuminescence (Astral Spirits)

While the name of this trio implies plurality, a fundamental unity sustains Hearts & Minds. Bass clarinetist Jason Stein and electric keyboardist Paul Giallorenzo have been friends since sixth grade and have maintained a playing partnership since reuniting in Chicago in 2004. Completed since 2016 by drummer Chad Taylor, H&M uses compositions by both founders and similarly oriented collective improvisations as frameworks for pithy dust-ups between charged textures, sophisticated melodic progressions and confidently refracted grooves. Giallorenzo’s synthesizer and electric piano confer a kind of retro-futurist glow that is nicely balanced by the other members’ caffeinated restlessness.

Bill Meyer

Hieroglyphic Being — Dance Music 4 Bad People (Smalltown Supersound)

Jamal Moss’s music harks back to the sweat of clubs, secret if not entirely hidden. For those seeking a different kind of charged musical experience. Physical yes, rife with carnal possibility yes, but with an edge of darkness and complexity. As Hieroglyphic Being, Moss creates sacred hallows of celebration. He imparts knowledge and demands respect for the sharing of his learning. You can dance, you will dance, but on his terms and with ears and hearts open. Scaled large but intimate, Moss goes for the slinky and insinuating, filled with ancestral whispers, cosmic exhortations, an insistence on freedom of expression as resistance. Tracks come at you from unexpected angles, the titles offering clues; “Reality is not what It seems,” “The Art of Living A Meaningless Life,” “Awakening from A Dream State.” Atop shifting beats, the bass lines are funk driven and psychedelic, cosmic synths hang and glide. Seeped in a heady erotic fug, Dance Music 4 Bad People, is house music’s secular version of spiritual jazz.

Andrew Forell

Russ Lossing Trio — Moon Inhabitants (Sunnyside)

The Russ Lossing Trio’s chosen challenge is to see how much freedom can be found within a structure, and then to see what can be made with it. Pianist Lossing, bassist Masa Kamaguchi and drummer Billy Mintz operate happily within a jazz piano trio idiom that has endured for decades, and if you chose not to pay attention to what they’re doing on this disc, it could easily serve as background fare for people who prefer their jazz served with a steak and a cocktail. But even a cursory listen reveals a wealth of quite surprise. The material encompasses Harold Arlen, Ornette Coleman and Piotr Tchaikovsky, as well as a few Lossing originals. All of it is negotiated with respect for each piece’s structural challenges as well as a readiness to go quietly airborne at any moment, lifted up by the rhythm section’s push-pull and the pianist’s knack for resolving dense improvisational forays with an updraft of melody. Full disclosure — not so long ago I wrote liner notes for one of Lossing’s solo recordings on another label.

Bill Meyer

Pedro Silveira — Costeiro (self-released)

Pedro Silveira is a Brazilian guitarist who, on his second release, focuses on the ukulele. The way he plays it, the instrument, often associated with camp and silliness, sounds so full that it can easily be mistaken for a nylon string guitar. He is joined on Costeiro by Marcelo Muller, whose upright bass balances the high pitch of the ukulele, and the tasteful percussion of Marco Lobo. The performances and Silveira’s compositions recall classic recordings by the likes of Luiz Bonfá and Baden Powell. It’s unclear whether overdubbing was involved, but a video shows his formidable technique on what appears to be a tenor ukulele. Light and breezy, this Latin jazz release is a great spring soundtrack.

Jim Marks

Southern Avenue — Family (Alligator)

This Memphis soul quartet mines powerful traditions like electric blues, soul and gospel, with ebullient, harmonized choruses, coruscating guitar licks and a way of leaning on a vamp until it’s nailed to the ground. “Upside” is maybe the best of the lot, driving hard but with a southern saunter, wheeling around the corners with Stax organs squealing. Tierinii Jackson commands the forefront with her church-grown, blues-burnt vocal style, the notes tumbling out of her in flowery elaborations. She’s got all the tools — the belt, the grunt, the growl, the melismatic embellishment, the righteous payoff—but it wouldn’t work without the smoking band, or the chorus of backing singers who bat back every phrase to her with joy and certainty. Good stuff.

Jennifer Kelly

Tàrrega 91 — Ckaos Total (La Vida Es un Mus)

You have to give props to Tàrrega 91 for the band’s single-minded purpose: relentless d-beat that documents a 1991 uprising in the Spanish town of Tàrrega that resulted in the arrest and detention of over 80 people. The Catalonian band keeps things aesthetically lean and mean, playing a variety of anarcho-punk that hasn’t changed much at all since Crass and Discharge broke the form open and continental bands like the Wretched, Negazione and Kangrena started making 7” records. One might object: history has ground onward with its own variety of relentlessness, so are these throwback sounds really what we need in 2025? The flip response will note that fascism is back, as if Franco never left. For certain, the fascists’ bullshit populism has renewed energy, and their cynical claims of fighting for the working class are even more repulsive. Maybe a shot of reliably disruptive sonic violence is just what’s required. Punks not dead, your head is.

Jonathan Shaw

Ultisol — Precession of the Equinox (Island House)

Ultisol is the alter-ego of Georgian fingerpicker Daniel Lamb, a guitarist heavily influenced by Takoma School players, especially Fahey. But this latest full length expands the artist’s scope with thoughtful, wide-ranging arrangements, fleshed out by likeminded musicians, including pedal steel player JP Bohannon, the harpist Megan Searl, the bass player Kevin Scott and percussionist/producer Dale Eisinger. As a results, cuts like “Intermittance” starts small and grows to something epic, while “Configuration” weaves smoke wreathes of pedal steel tone and ruminative bass around a pensive guitar clangor that might remind you of Loren Mazzacane Connors. Opener “Endless” sets the tone putting radiant acoustic and tone-shifting pedal steel in front of the sound of wind and surf, like you went to heaven and there’s a beach there.

Jennifer Kelly

Dustin Wong — Gloria (Hausu Mountain)

LA based guitarist and composer Dustin Wong memorializes his late grandmother Gloria on his latest album. Based on a road trip through California the pair took in 2023, Gloria is framed as both travelog and requiem in which Wong celebrates his grandmother’s life and captures the warmth of their relationship. Wong plays live over loops of treated guitar and effects, his often-wordless vocals and percussive effects provide a sense the places they visited, the people they encountered. Echoes of their separate and joint memories feel ever present. From the clip clop rhythm and Hawaiian lap steel of “Memories of Cordelia” to the pointillist syncopation of “Glass Beach,” Wong traverses styles to present nuanced evocations of his memories and his grandmother’s upbringing and life in the church. The album closes with two versions of “Angels We Have Heard on High.” In Wong’s interpretation of the hymn “Gloria in excelsis Deo,” his reverbed voice soars over a minimal guitar pattern in the first, whilst the second is a stately, heartfelt coda to a wonderfully evocative tribute.

Andrew Forell

You Ishihara — Passivité (Black Editions)

Black Editions continues to mine a treasure trove of Japanese underground music, exposing the eclecticism that bubbled under the surface of the country’s scene. Typically focusing on ferocious psych rock and experimental sounds, with this release they’ve uncovered something gentler. Passivité was the debut release from White Heaven frontman You Ishihara, a moody collection of sultry blues tunes. Surprisingly mellow for fans of his main outfit’s psychedelic garage rock sound, the skeletal songs unfurl like whisps of smoke in a crowded room. This is a solo album in name, but not in execution. Bandmate Michio Kurihara joins Ishihara on guitar, and members of Fushitsusha and Acid Mothers Temple appear on those tracks where he wanted to incorporate a full band feel. It’s the languorous and introspective songs that truly shine, with Ishihara coming across as a lonesome singer-songwriter spilling his melancholy to a rapt audience. Passivité is a unique entry in the Black Editions canon, an enjoyable document from the mellower side of Japanese psychedelia.

Bryon Hayes

[piasgermany]

[News] Nilüfer Yanya präsentiert “the dealer”!

Die britische Musikerin Nilüfer Yanya veröffentlicht am 04. März ihr zweites Album “PAINLESS“ über ATO Records und präsentiert kurz vorher noch die neue Single “the dealer“.

Der Rhythmus-fokussierte Track behandelt lyrisch die sich wiederholenden Regelmäßigkeiten der Natur – die Gezeiten und Jahreszeiten.  

„I find it interesting how we attach certain memories and feelings to different seasons and tend to revisit them time and time again, yet our lives move in a more linear motion and even when we feel like we are going back we never really get to go back anywhere. Musically speaking it's a bit more playful and relaxed."

Den nervösen Drums und Akustikgitarre bringt Nilüfer ihre warme und vielseitige Stimme entgegen, welche einen beinahe beruhigenden Kontrast bildet.

Als Tochter zweier künstlerischer Elternteile (ihre irisch-barbadische Mutter ist Textildesignerin, die Gemälde ihres türkischstämmigen Vaters sind im Britischen Museum ausgestellt), wuchs Nilüfer bereits in einem kreativen Umfeld auf. Mit ihrem zweiten Album “Painless” begibt sich Yanya nun auf die nächste Stufe ihrer ideenreichen Reise und stürzt sich kopfüber in die Tiefen ihrer emotionalen Verletzlichkeit. Die zwölf Songs wurden in einem Kellerstudio in Stoke Newington und bei Riverfish Music in Penzance mit Miss Universe-Mitarbeiterin und Produzentin Wilma Archer, DEEK Recordings-Gründer Bullion, Big Thief-Produzent Andrew Sarlo und Musiker Jazzi Bobbi aufgenommen.

und wir freuen uns, dass Nilüfers Shows stattfinden können: 23. März 2022 München - Ampere 24. März 2022 Wien (A) - Grelle Forelle 26. März 2022 Berlin - Säälchen 27. März 2022 Hamburg - Nochtspeicher Booking: Melt!

[humongousfanhologram]

Heifetz 2017: Schubert's "Trout" - The Quintet, and the Song!

00:28 Introduction by Andrew Rosenblum 03:46 Schubert: Piano Quintet in A major, "Trout", D. 667: I. Allegro Vivace 13:20 II. Andante 20:14 III. Scherzo. Presto 24:12  Schubert: Die Forelle, D. 550 (Carol Mastrodomenico, soprano) 26:59 IV: Andantino. Allegretto (Theme & Variations) 35:04 V. Allegro Giusto From a 2017 Heifetz Institute "Sunday Matinee," a complete performance of Schubert's "Trout" Quintet in A, D. 667, with the added bonus of the song that inspired it - Schubert's "Die Forelle" ("The Trout") performed by soprano Carol Mastrodomenico (a member of the Heifetz Institute Communication Faculty) right before the theme-and-variations fourth movement that gives the Quintet for Violin, Viola, Cello, Doublebass, and piano its name. Performers: Ji-Won Song, violin (2017 Heifetz Artist in Residence) Daniel Burmeister, viola (2017 Heifetz Institute student) Thomas Mesa, cello (2017 Heifetz Institute Artist in Residence) Bruce Rosenblum, doublebass Andrew Rosenblum, piano (Heifetz faculty keyboardist)

[playlistobscura]

Brutha Voodoo’s Playlist Obscura Tracklist 3rd December 2019

Every track played on this week’s show, in no particular order: “Brutha Voodoo Theme” by The Wiggly Tendrils The Namecheck "The Ghost of Stevie Ray" by Sandi Thom "Crossfire" by Stevie Ray Vaughan The Irregular Feature: #ItAintWhereYouFromItsWhereYouAt "Byron 88" by Aberdeen from Los Angeles, California That's Not The News That's Not "Happy, Happy, Joy, Joy" by Wax Then & Now "Sleep On The Left Side" & "No Rock: Save The Roll" by Cornershop Brother Bill’s Obscura Flashback "Samba De Verao" by Walter Wanderley Chiptune of the Week "Sword!" by Luis Quintero Co The Rest! "Witney" by Mount Forel "Secret Is Out" by Nine Year Sister "Your Car" by Jimmy Whispers "Hello Honky Tonks" by Blood Everywhere "Space Zombies Are Coming" by DWEEB CITY "Memories" by Audiokicks ft Cara Mitchell "Code Pilot" by My Heart, Your Thunder "Rainfall, Canada" by Fair Mothers "King Hit" by Royal Chant "Zemlya" by Ana Zhdanova "The Mighty Will Fall" by Andrew Byrne "Wilderness" by Strange Waves "Under Fire" by Vincent Draper "Keepsake Box" by Terry vs Tori "Simple Machine" by Newton Minnow "It Hurts" by Split Pea https://ift.tt/1KLJHeQ Facebook: https://ift.tt/1Owedwe mixcloud: https://ift.tt/2n6UKfx

[meubloglgbtqiamais]

Bibliografia básica sobre homossexualidade

A respeito da comunidade LGBT, segue uma lista com bibliografias de obras relacionadas ao tema encontrados no Blog Luiz Mott. A proposta do responsável é divulgar artigos científicos, bibliografias sobre a homossexualidade, Direitos Humanos, entre outras fontes de informações. A lista está divida por 5 tópicos indo do geral para específicos, e e nas quais estão organizadas obras em ordem alfabética. Também está disponível uma lista bibliográfica de livros escritos por ele sobre Homossexualidade e Aids (1984-2002), seguindo uma ordem cronológica de publicações. 

1. Geral

BURR, Chandler. Criação em separado: como a Biologia nos faz homo ou hetero. Trad. Ary Quintella. Rio de Janeiro: Record, 1998. CORRAZE, Jacques. L’homosexualité. Paris: Presses Universitaires de France, 1982. (Que sais-je?) CORY, Donald W. El homosexual en NorteAmerica. Trad. Alfredo S. Luna. México: Compañía General de Ediciones, 1951. COSTA, Jurandir F. A inocência e o vício: estudos sobre o homoerotismo. Rio de Janeiro: Relume Dumará, 1992. ___. A face e o verso: estudos sobre o homoerotismo II. São Paulo: Escuta, 1995. (O sexto lobo, clínica do social) COUTO, Edvaldo Souza. Transexualidade: o corpo em mutação. Salvador: Ed. Grupo Gay da Bahia, 1999. (Gaia Ciência) DAGNESE, Napoleão. Cidadania no armário: uma abordagem sócio-jurídica acerca da homossexualidade. São Paulo: LTR, 2000. DALLAYRAC, Dominique. Dossier homosexualité. Paris: Robert Lafont, 1968. DIAS, Maria Berenice. União homossexual: o preconceito e a Justiça. Porto Alegre: Livraria do Advogado Editora, 2000. DOVER, K. J. A homossexualidade na Grécia Antiga. Trad. Luís S. Krausz. São Paulo: Nova Alexandria, 1994. FOUCAULT, Michel. História da sexualidade: a vontade de saber. Vol. I. Trad. Maria Thereza da Costa Albuquerque e J. A. Guilhon Albuquerque. 9. ed. Rio de Janeiro: Graal, 1988. ___. História da sexualidade: o uso dos prazeres. Vol. II. Trad. Maria Thereza da Costa Albuquerque. 5. ed. Rio de Janeiro: Graal, 1984. ___. História da sexualidade: o cuidado de si. Vol. III. Trad. Maria Thereza da Costa Albuquerque. 3. ed. Rio de Janeiro: Graal, 1985. FRY, Peter, MACRAE, Edward. O que é homossexualidade. São Paulo: Abril Cultural/Brasiliense, 1985. (Primeiros Passos) HART, John, RICHARDSON, Diane (orgs.). Teoria e prática da homossexualidade. Trad. Vera Ribeiro. Rio de Janeiro: Zahar, s.d. (Psyche) HAUSER, Richard. La società omosessuale. Trad. Ugo Carrega. Milano: Longanesi, 1965. HELMINIAK, Daniel A. O que a Bíblia realmente diz sobre a homossexualidade. Trad. Eduardo T. Nunes. São Paulo: Summus, 1998. HOCQUENGHEM, Guy. A contestação homossexual. Trad. Carlos Eugênio M. de Moura. São Paulo: Brasiliense, 1980. HOPCKE, Robert H. Jung, junguianos e a homossexualidade. Trad. Cássia Rocha. São Paulo: Siciliano, 1993. LAMBERT, Royston. Pederastia na Idade Imperial. Sobre o amor de Adriano e Antínoo.Trad. Jorge de Morais. [S.l.]: Assírio & Alvim, 1990. LIMA, Délcio M. de. Os homoeróticos. Rio de Janeiro: Francisco Alves, 1983. MARCH, Sue. Libertação homossexual. Trad. Ubirajara B. Júnior. São Paulo: Nova Época Editorial, 1981. MARMOR, Judd (org.). A inversão sexual: as múltiplas raízes da homossexualidade. Trad. Christiano M. Oiticica. Rio de Janeiro: Imago, 1973. MÍCCOLIS, Leila, DANIEL, Herbert. Jacarés e lobisomens: dois ensaios sobre a homossexualidade. Rio de Janeiro: Achiamé, 1983. MORENO, Antônio. A personagem homossexual no cinema brasileiro. Rio de Janeiro: FUNARTE, Niterói: EDUFF, 2001. MOTT, Luiz. Escravidão, homossexualidade e demonologia. São Paulo: Ícone, 1988 Mott, Luiz. Homossexualidade: Mitos e Verdades. Salvador, Ed.GGB, 2003 ___. Relações raciais entre homossexuais no Brasil colônia. Revista Brasileira de História, ANPUH, v. 3, n. 10, mar/ag 1985. OKITA, Hiro. Homossexualismo: da opressão à libertação. São Paulo: Proposta Editorial, s/d. ORAISON, Marc. A questão homossexual. Trad. José Kosinski. Rio de Janeiro: Nova Fronteira, 1977. (Experiência e Psicologia) POVERT, Lionel. Dictionnaire gay. Paris: Jacques Grancher Éditeurs, 1994. Revista Brasileira de Sexualidade Humana, São Paulo: Iglu Ed., v. 7, edição especial n. 1, mar 1996. RICHARDS, Jeffrey. Sexo, desvio e danação: as minorias na Idade Média. Trad. Marco Antônio E. da Rocha e Renato Aguiar. Rio de Janeiro: Zahar, 1993. RUSE, Michael. La homosexualidad. Trad. Carlos Laguna. Madrid: Ediciones Cátedra, 1989. SELL, Teresa A. Identidade homossexual e normas sociais. (Histórias de vida). Florianópolis: Ed. da UFSC, 1987. SPENCER, Colin. Homossexualidade, uma história. Trad. Rubem M. Machado. Rio de Janeiro: Record, 1996. (Contraluz) SULLIVAN, Andrew. Praticamente normal: uma discussão sobre o homossexualismo. Trad. Isa Mara Lando. São Paulo: Companhia das Letras, 1996. TREVISAN, João Silvério. Devassos no paraíso: a homossexualidade no Brasil, da colônia à atualidade. (Ed. revista e ampliada) Rio de Janeiro: Record, 2000. VIDAL, Marciano et alii. Homossexualidade: ciência e consciência. Trad. Roberto P. de Queiroz e Silva e Marcos Marcionilo. São Paulo: Loyola, 1985. 2. Homossexualidade masculina BADINTER, Elizabeth. XY, sobre a identidade masculina. Trad. Maria Ignez D. Estrada. 2. ed. Rio de Janeiro: Nova Fronteira, 1993. BARCELLOS, José Carlos. Literatura e homoerotismo masculino: perspectivas teórico-metodológicas e práticas críticas. Caderno seminal, Rio de Janeiro, v. 8, n. 8, 2000. BON, Michel, D’ARC, Antoine. Relatório sobre a homossexualidade masculina. Trad. Omar de P. Duane. Belo Horizonte: Interlivros, 1979. COUROUVE, Claude. Vocabulaire de l’homosexualité masculine. Paris: Payot, 1985. DOURADO, Luiz Ângelo. Homossexualismo (masculino e feminino) e delinqüência. 2. ed. Rio de Janeiro: Zahar, 1967. (Psyche) GREEN, James N. Além do carnaval: a homossexualidade masculina no Brasil do século XX. Trad. Cristina Filho e Cássio A. Leite. São Paulo: Ed. UNESP, 2000. LASCAR, Gilles. Bastidores: a noite gay. Rio de Janeiro: Mauad, 1996. LOPES, Denilson. O homem que amava rapazes e outros ensaios. Rio de Janeiro: Aeroplano, 2002. MOTT, Luiz. O sexo proibido: virgens, gays e escravos nas garras da Inquisição. São Paulo: Papirus, 1988. 3. Homossexualidade feminina ABRAS, Rosa Mª Gouvêa. A jovem homossexual. Ficção psicanalítica. Belo Horizonte: A. S. Passos Editora, 1996. BELLINI, Lígia. A coisa obscura: mulher, sodomia e Inquisição no Brasil colonial. São Paulo: Brasiliense, 1989. CAPRIO, Frank S. Homossexualidade feminina: estudo psicodinâmico do lesbianismo. Trad. Frederico Branco. 4. ed. São Paulo: IBRASA, 1978. FOREL et alii. Erotologia feminine. São Paulo: Edições e Publicações Brasil Ed., s/d. (Biblioteca de Estudos Sexuais) MOTT, Luiz. O lesbianismo no Brasil. Porto Alegre: Mercado Aberto, 1987. (Depoimentos, n. 16) PORTINARI, Denise B. O discurso da homossexualidade feminina. São Paulo: Brasiliense, 1989. WOLFF, Charlotte. Amor entre mulheres. Trad. Milton Persson. 2. ed. Rio de Janeiro: Nova Fronteira, 1973. (Experiência e Psicologia) 4. Títulos afins ALMEIDA, Ângela M. de. O gosto do pecado: casamento e sexualidade nos manuais de confessores dos séculos XVI e XVII. 2. ed. Rio de Janeiro: Rocco, 1993. ALMEIDA, Pedro. Desclandestinidade: um homossexual religioso conta sua história. São Paulo: Summus, 2001. Amor e sexualidade no Ocidente: edição especial da Revista L’Histoire/Seuil. Trad. Ana Mª Capovilla, Horacio Goulart e Suely Bastos. Porto Alegre: L&PM, 1992. ANDRÉ, Serge. A impostura perversa. Trad. Vera Ribeiro. 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Manual de Coleta de informações, sistematização e mobilização política contra crimes homofóbicos. Salvador, Editora Grupo Gay da Bahia, 2000 10. Violação dos direitos humanos e assassinatos de homossexuais no Brasil. Salvador, Editora Grupo Gay da Bahia, 2000 11. Causa Mortis: Homofobia. Salvador, Editora Grupo Gay da Bahia, 2001 12. A Cena gay em Salvador em tempo de Aids. Salvador, Editora Grupo Gay da Bahia, 2001 13. O crime anti-homossexual no Brasil. Salvador, Editora Grupo Gay da Bahia, 2002 14. Matei porque odeio gay. Salvador, Editora Grupo Gay da Bahia, 2003 · LIVRETOS 15. A Penetração do Preservativo no Brasil pós-Aids, RJ, Publicações Técnicas da Bemfam, nº14, 1988 16. A Prevenção da Aids entre os Cegos, Cartilha em Braille, S.Paulo, Fundação para o livro do cego do Brasil, 1990, 12p. 17. Traveca esperta. Cartilha de prevenção da Aids, Ministério da Saúde, Salvador, l995, l6 páginas. 18. Sexo sem Aids. 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Reunião de Antropólogos do Norte e Nordeste, Recife, 1991, p.291-303 82. "Relações raciais entre homossexuais no Brasil colonial", Revista de Antropologia, Universidade de São Paulo, vol.35, 1992:170-189 83. "Aids e Sexualidade", Anais da II Reunião de Antropólogos do Norte e Nordeste, Recife, Universidade Federal de Pernambuco, 1993:291-303 84. "Alternativas eróticas dos africanos e seus descendentes no Brasil Escravista", Revista de História, Universidade Federal de Ouro Preto, nº1. vol.3, 1993:176-214 85. "A violação dos direitos humanos dos homossexuais no Brasil", Boletim da Associação brasileira de Antropologia, nº19, novembro 1993:6 86. "Aids: Informação e Prevenção", Revista Mulher em Movimento, Sindicato dos Bancários/CUT/Bahia, nº1, abril-junho 1994;12-13 87. “De taturana a borboleta: a metamorfose de um antropólogo enrustido em militante gay”, Alteridades, UFBa, n.2, ano II, set-95, p.35-44 88. “Identidade (homo)sexual e a educação diferenciada”, in Dois Pontos: Teoria e Prática em Educação, Belo Horizonte, vol.4, n.31, abril 1997 89. "Minorias Sexuais", in Relatório da 2a Conferência Nacional de Direitos Humanos, Brasília, Câmara dos Deputados , 1998, p.97-123-126 90. "Aids: Antropologia versus Epidemia", Anais da 21a Reunião da Associação Brasileira de Antropologia 91. "O crime homofóbico: viado tem mais é que morrer!", Crime, Direito e Sociedade, Instituto de Criminologia, RJ, 1997 92. "Minorias Sexuais", in Relatório da 2a Conferência Nacional de Direitos Humanos, Brasília, Câmara dos Deputados , 1998, p.97-123-126 93. “A Igreja e a questão homossexual no Brasil”, Mandragora, SP, ano 5, n.5, 1999, p.37-41 94. “Homossexual também é ser humano: a construção da cidadania de gays, lésbicas e travestis no Brasil”, Universidade e Sociedade, Sindicato Nacional dos Docentes das Instituições de Ensino Superior, ano X, n.22, novembro 2000 (publicada em 2001) 95. “A Inquisição em São Paulo”, Boletim do Museu de Folclore, n.2, março 2001, p.31-43 96. “Os filhos da dissidência: o pecado nefando e sua nefanda matéria”, Tempo, Revista do Departamento de História da UFF, vol.6, n.11, julho 2001, p.189-204 97. Meu Menino Lindo: Cartas de Amor de um Frade Sodomita, Lisboa (1690) Revista Entretextos, n.4, dezembro 2000, p.95-117; Luso-Brazilian Review, 38 (Winter, 2001), 97-115. 98. “Homossexualidade: uma história tabu e uma cultura revolucionária”, ArtCultura, Revista do do NEHAC, Uberlândia, n.4, vol.4, 2002, p. 10-17. · RESENHAS BIBLIOGRÁFICAS 99. Homosexuality in Renaissance England, Alan Bray. nº 36, 1984:874- 875. 100. Homolexis: A Historical and Cultural Lexicon of Homosexuality , Wayne Dynes, nº 30, 1986:724-725. 101. Immodest Acts, Judith Brown. nº 39, 1987:224-225. 102. Sodomy and Pirate Tradition, B.R. Burg. nº 37, 1985:1379-1381 103. Sodomy and Pirate Tradition, New West Indians Review, (Amsterdam), nº 59, 1985:262-265. 104. Homossexualidade na Grécia Antiga, Orelha do Livro Homossexualidade na Grécia Antiga, Editora Nova Alexandria, SP, 1994 · ARTIGOS EM JORNAIS E REVISTAS 105. " A Aids na Filatelia internacional", Jornal do Selo, RJ, nº63, abril-maio 1991:9 106. "IV Centenário da Visitação do Santo Ofício ao Brasil", Diário Oficial Leitura, S. Paulo, 10 (10), julho 1991:1-3 107. 9- “A AIDS na filatelia internacional” Jornal do Selo, 1-6-1991 108. “Um preconceito tolerado pela Carta”, Análises e Informações Legislativas (Brasília), setembro l991: , Informativo INESC, 109. 500 anos de homossexualidade nas Américas”, Utopia (Porto Alegre), dezembro 1992.“ 110. “Homofobia tem cura!” Jornal de Sergipe, 17-4-1992 111. “A UFBa na luta contra a Aids” Jornal da UFBa, janeiro l993 112. “É possível praticar o sexo seguro?"- O Estado do Maranhão, 23-11-1993 113. "A Aids e a família", Bahia Hoje, Salvador, 1-12-1993 114. “Os Políticos e os homossexuais” Jornal do Brasil, 28-6-1993: 115. “Crise da Aids reprime bissexualidade tropicalista” Folha de São Paulo, 10-11-1993 116. “Mil casos de Aids na Bahia” Bahia Hoje, 13-1-1994 117. "Mil casos de Aids na Bahia", Bahia Hoje, 13-1-1994 118. "A sexualidade no Brasil colonial", Diário Oficial Leitura São Paulo, nº141, fevereiro 1994:6-8 119. "A alforria dos homossexuais", Linha direta, Publicação Semanal do Diretório Regional do Partido dos Trabalhadores, São Paulo, nº 169, 23-3-1994 120. "Em defesa das famílias de fato", Bahia Hoje, 25-3-1994 121. "Em defesa do ser homossexual", Jornal Nós Por Exemplo, julho-agosto 1994:7 122. "Dama de paus", Resenha do livro O Travesti no espelho da mulher, Tribuna da Bahia, 25-8-1994 123. "O último tabu, Revista Sui Generis, S. Paulo, novembro, 1994:34 124. Aids e a Família.” 15- Bahia Hoje, 1-12-1994 125. “Aids e a Família” Jornal do Brasil, 1-12-1994 126. “Carnaval, Aids e camisinha” 18- Bahia Hoje, 21-2-1994 127. amor que Mário de Andrade não ousava dizer o seu nome O Capital (Aracaju), 1-7-1994 128. “O complô do silêncio contra Zumbi”, Zero Hora, P.Alegre, 27-5-1995 129. “O paraíso gay”, Folha de S.Paulo, 6-7-1995 130. “Educação sexual e cidadania plena”, Tribuna da Bahia, 15-8-1995 131. “Os Gays e a visita do Papa”, Folha de S.Paulo, 6-9-1995 132. “Era Zumbi homossexual?”, A Notícia, Florianópolis, 27-9-1995 133. “A caminho do arco-íris”, Gazeta do Povo, Curitiba, 1-10-1995 134. “Violência sexual infanto-juvenil”, Jornal da Tarde, SP, 26-10-1995 135. “Homossexuais lutam pela cidadania” 21- Correio Brasiliense, 5-3-1995: 136. “Raízes da intolerância”, Diário da Manhã (Pelotas), 9-4-1995: 137. “Quilombismo anti-gay”, Folha de São Paulo, 21-5-1995: 138. “A Campanha da Fraternidade exclui os homossexuais” Jornal da Tarde (SP), 9-3-1995: 139. “A polêmica da camisinha” O Estado de São Paulo, 17-3-1995 140. “O mudo amor de Mário de Andrade” Jornal de Natal, 22-5-1995 141. “Educação sexual e cidadania plena” Tribuna da Bahia, 15-8-1995 142. “Revolução sexual”, Brazil Sex Magazine, n.13, out. 1996 143. “Educação sexual e cidadania plena”, Bahia Hoje, 13-4; Correio Popular, 4-4-1996 144. “A tribo dos rapazes de peito”, Folha de S.Paulo, 16-6--1996 145. “Gays e lésbicas na política de direitos humanos de FHC”, Folha de S.Paulo, 3-8-1996 146. “O Corifeu da Homofobia”, Folha de S.Paulo, 11-8-1996 147. “Orgulho Gay”, Estado de Minas, 27-6; Jornal da Manhã, 30-6-1996 148. “O pânico homofóbico”, Estado do Maranhão, 24-9-1996 149. “O pânico homofóbico”, Diário de Natal, 20-9-1996 150. “O pânico homofóbico”, Jornal da Cidade (Aracaju), 13-9-1996 151. “Um mundo, uma esperança”, Folha de S.Paulo, 1-12-1996 152. “Unidos na esperança”, Tribuna da Bahia, 2-12-1996 153. ”Só transo com homem de verdade “, Brazil Sex Magazine, S.Paulo, n.20, 4/1997 154. “O futuro da homossexualidade”, Tribuna da Bahia, 17/5/1997 155. “1897-1997: Centenário do Movimento Homossexual”, Diário de Cuiabá, 3/6/1997 156. “1897-1997: Centenário do Movimento Homossexual”, O Capital (Aracaju), 6/1997 157. “Ex-gays, existem?”, Brazil Sex Magazine, S.Paulo, n.23, 7/1997 158. “Reflexões sobre o prazer anal”, Brazil Sex Magazine, n.24, 8/1997 159. “Homoerotismo lésbico”, Brazil Sex Magazine, n.25, 9/1997 160. “Luiz Mott: Guerrilha moral” Jornal Opção, (Goiânia), 4/10/1997 161. “Os gays e o Papa”, Tribuna do Norte (Natal), 2/10/1997 162. "Estereótipos tupiniquins", Folha de S.Paulo, 18-1-1998 163. “Homoerotismo lésbico”, Brazil Sex Magazine, n.25, 9/1997 164. “Luiz Mott: Guerrilha moral” Jornal Opção, (Goiânia), 4/10/1997 165. "Pedofilia e Pederastia", Página Central, S.Paulo, n.5, 5 maio 1998 166. "Perfil sexual do Brasileiro", Página Central, S.Paulo, agosto 1998 167. "Brasil: campeão mundial de assassinatos de homossexuais", Página Central, S.Paulo, março 1998 168. "Estereótipos sexuais tupiniquins", Diário do Norte, 18-1-1998 169. "Assassinato de homossexuais no Brasil", Tribuna da Bahia, 22-1-1998 170. "O pânico homofóbico", jornal World News, n.13, abril 1998, SP 171. "Jesus era gay?", Página Central, julho 1998 172. "O maior tabu do mundo", Revista SuiGeneris, RJ n.33, maio 1998 173. "Um Herói do Brasil Imperial" Revista SuiGeneris, RJ ano IV n.38, 1998 174. "Travestis: anjos ou demônios?" Revista Brazil Sex Magazine, SP ano IV n. 38, 1998 175. "A Sexualidade dos Brasileiros; um mito tropical" Jornal Homo Sapiens, Salvador, ano 1, n.6, 1998. Disponível em:  http://luiz-mott.blogspot.com/2006/08/bibliografia-bsica-sobre_20.html

[findasongblog]

Find A Song about a town where none of the actual ills of the world seem to exist

Mount Forel - Witney

Mount Forel have released the video for new single ‘Witney’, named after the constituency where failed Prime Minister David Cameron was previously MP. “We were recording our album in Witney”, says drummer Andrew Wakatsuki-Robinson. “It’s the most conservative place I’ve ever seen. We listed a bunch of things going sour right now – inequality, climate change, false is the new norm and air quality, then wrote a song about a town where none of these ills seem to exist; our own little Witney, if you will”. (press release)

via Musosoup

[katefullergecko]

Reasons why Rory Gilmores ending will forever piss me off

All of the career paths of people who worked for the Yale Daily News according to the wikipedia page: 

Politics[

edit

]

Lanny Davis, advisor to President Clinton, author and public relations expert

David Gergen, advisor to four Presidents and U.S. News and World Report editor-at-large

Reed Hundt, former FCC chairman

Joseph Lieberman, US Senator from Connecticut, 2000 Vice Presidential nominee and 2004 presidential candidate

Steve Mnuchin, incumbent Secretary of Treasury under the Trump Administration

Robert D. Orr, former governor of Indiana

David A. Pepper, Ohio politician

Samantha Power, former United States Ambassador to the United Nations

Andrew Romanoff, former Colorado Speaker of the House, candidate for Democratic nomination to US Senate

Sargent Shriver, first Peace Corps director

Potter Stewart, former Supreme Court associate justice

Stuart Symington, former US senator from Missouri

Strobe Talbott, president of the Brookings Institution and former Deputy Secretary of State under President Clinton

Garry Trudeau, cartoonist and creator of Doonesbury, which first appeared in the News' pages as Bull Tales

Journalism[

edit

]

Pete Axthelm, sportswriter

Michael Barbaro, politics reporter, The New York Times

Ellen Barry, Pulitzer Prize–winning Moscow correspondent, The New York Times

Melinda Beck, Marketplace editor and columnist for The Wall Street Journal

Alex Berenson, business reporter for The New York Times

Christopher Buckley, novelist and writer

Kevin P. Buckley, Vietnam war correspondent, writer, Executive Editor, Playboy

William F. Buckley, Jr., founder of National Review

Meghan Clyne is a Washington, D.C.-based writer, recently for The Weekly Standard

Carol Crotta, writer for Houzz, Apparel News, and the LA Times

Michael Crowley, senior editor, New Republic

Charles Duhigg, business reporter for The New York Times

Charles Forelle, European correspondent for The Wall Street Journal

Dan Froomkin, Washington Editor of TheIntercept.com

Zack O'Malley Greenburg, Forbes staff writer and author of Jay-Z biography Empire State of Mind

Lloyd Grove, freelance writer, former gossip columnist for the New York Daily News and The Washington Post

Briton Hadden, co-founder of Time

R. Thomas Herman, reporter and tax columnist for The Wall Street Journal

John Hersey, Pulitzer Prize–winning journalist and author

Robert G. Kaiser, associate editor of The Washington Post

Matthew Kaminski, editorial board member, The Wall Street Journal

David Leonhardt, Pulitzer Prize–winning economics columnist, The New York Times

Joanne Lipman, founding Editor-in-Chief of Conde Nast Portfolio magazine and former Deputy Managing Editor of The Wall Street Journal.[12]

Adam Liptak, supreme court correspondent for The New York Times

Henry Luce, co-founder of Time

Dana Milbank, White House correspondent for The Washington Post

Jodi Rudoren, Jerusalem bureau chief for The New York Times

Robert Semple, Pulitzer Prize winner and member of The New York Times editorial board

Paul Steiger, Editor-in-Chief of "ProPublica," former managing editor of The Wall Street Journal

John Tierney, columnist for The New York Times

Calvin Trillin, columnist and humorist

Jacob Weisberg, editor of Slate

Other[

edit

]

Kingman Brewster, former president of Yale University and ambassador to the Court of St. James's

Lan Samantha Chang, director of Iowa Writers' Workshop

Theo Epstein, Chicago Cubs general manager

Thayer Hobson, chairman of William Morrow and Company[13]

Eli Jacobs, Wall Street investor, former owner of the Baltimore Orioles (1989–1993)[14]

Paul Mellon, philanthropist

John E. Pepper, Jr., chairman of the Walt Disney Company and CEO of the National Underground Railroad Freedom Center, former CEO and chairman of Procter & Gamble, and Yale's former vice president of finance and administration and senior fellow of the Yale Corporation

Samantha Power

Gaddis Smith, professor emeritus of history at Yale

Lyman Spitzer, theoretical physicist

Daniel Yergin, Pulitzer Prize-winning author and economic researcher

[dustedmagazine]

Dust Volume 11, Number 3

Television Personalities

This month’s batch of short reviews spans free jazz and video-game inspired dungeon synths, field recordings, jangle pop, blackened noise, classical piano music and some long unavailable radio sessions from the late great Television Personalities — something for everyone, we hope.  Contributors this time around included Bill Meyer, Ian Mathers, Tim Clarke, Jonathan Shaw, Alex Johnson, Jennifer Kelly and Andrew Forell. 

C6Fe2KN6 — C6Fe2KN6 (Astral Spirits)

One virtue of small towns is that you get the neighbors. And while Marfa TX is not your average small town in many respects, its population is undeniably modest. This album is an outgrowth of a neighborly hang. Rob Mazurek has received his mail in Marfa for a decade now, and he has made it a point to get to know the painters, sculptors and polymaths who share his zip code. One of them is Nick Terry, who is the other half of the duo C6Fe2KN6. Mazurek plays trumpet and other instruments, most of which mix so harmoniously with Terry’s effects-laden guitar that they’re more felt than heard. The duo’s improvisations mix brass melody and stringed atmospherics in a manner similar to Loren Connors and Daniel Carter’s encounters. But where that New York duo’s music wears the weighty shroud of the city, you can feel the flatland breeze and emptiness in Terry and Mazurek’s.

Bill Meyer

Hollow Peasant — Siege of Tseldora (Self Released)

If you were going to make an album about the intriguingly excellent-but-flawed, cult favorite video game Dark Souls II (and not even the first one in recent years; see Sif’s solo doom metal effort in this Dust from last November), the wonderfully named “dungeon synth” leaps out as one of the more appropriate genres for it. Austin’s Hollow Peasant undergirds these drones and washes with both muted, stately drumbeats and “solidarity with the marginalized, the downtrodden, and all those who suffocate under the archaic laws and the oligarchs that write them.” The result is a 20 minute, mournful yet somehow optimistic processional, ending with the fittingly brighter “A new day in Brightstone Cove.” Siege of Tseldora absolutely feels appropriate to travelling through a dungeon, but (given the resolve on display here) not finding oneself trapped within one.

Ian Mathers

Daniela Huerta — Soplo (Elevator Bath)

Soplo is Spanish for breath. Daniela Huerta, a Mexican-born, Berlin-based sound artist, uses this modestly dimensioned (ten inches across, just shy of 27 minutes long) mini-album to blow perspective-adjusting intimations into the listener’s ear. It opens with the splash and burble of water, a sound that recurs on other tracks, before pulling back to let the insects buzz. A couple tracks in, Huerta’s own breath adds its rhythm to periodic rumbles that might be waves or passing elevated trains. Advance one more and churning electronics evoke a lightless vastness. Move on to side two and the sonic expanses get even more immense. Huerta’s sounds place evident humanity inside something much bigger and not necessarily mindful of human concerns at all, least of all whether that angle comforts you or makes you nervous.

Bill Meyer

Jonathan Personne — Nouveau Monde (Bonsound)

The fourth solo album by Corridor vocalist/guitarist Jonathan Robert comprises songs drawn from different eras in his career to date, brought together into an easy-flowing and addictive whole. The scuzzy centerpiece “Nuage Noir” is a dead-ringer for The Velvet Underground’s “Waiting for My Man,” but with a surprise chord change that launches the song into a transcendent realm. Before that highlight, the first half of this nine-song, 30-minute record is more upbeat and catchier— check out the organ-driven jangle-pop of “Les Jours Heureux,” and the beautiful title track, stripped back to organ and acoustic guitar until the wall-of-sound drum track kicks in. In the second half, “Le Cerf” features thunderous tom-tom work and clanging behind-the-bridge electric guitar tones reminiscent of Women, while “Vision” recalls the windscreen melancholy of The Moody Blues. Overall, Nouveau Monde is understated but rather brilliant.

Tim Clarke

Labyrinthine Heirs — S/T (I, Voidhanger)

Is blackened noise rock a thing? It’s easy to hear this new LP from Labyrinthine Heirs as straight-up Am Rep worship, pining for the prime years of Surgery, Halo of Flies and King Snake Roost. But vocalist Evan Sadler has a throaty growl that shifts the proceedings toward colder, kvlty sonic territory, and the themes of tunes like “Satan’s Domain Is the Liver” (say what?) and “Yaldabaoth Gored to Blindness” suggest more than a passing interest in the occult. Your humble reviewer digs “The Conceited Determination of Nimrod” best, which features lyric disquisitions like the following: “Language and thought as disorder / Language is driving you / Language is using you.” Word. Of course, the same song envisions “drowning in a sea of phlegm” at least three times, which is a pretty specific thing for language to drive at.

Jonathan Shaw

Osgraef — Reveries of the Arcane Eye (Amor Fati)

This first LP from black/death band Osgraef is seriously grim stuff. Osgraef combines the whirling chaos of Teitanblood with the lacerating toughness of the mighty Black Fucking Cancer — but those comparisons are less informative than they might be. The band does its own thing. “Nox Luciferi, Liber Koth,” the longest song on the record, presents a thrilling, compelling variety of black/death, deeply unpleasant and grueling. There’s not a large audience for this sort of thing, which intentionally alienates even as it works its supernatural charms. We might invoke the older, harder sense of the word “spellbinding” to describe Osgraef’s effects: listening to these sounds feels like it may bind you to some arcane compact, involving blood, thunder and the condition of your immortal soul. Yikes.

Jonathan Shaw

Ingrid Schmoliner — I Am Animal (Idyllic Noise)

Ingrid Scholiner is a pianist, vocalist, composer and academic from Vienna, Austria. She has crossed over from classical to more improvisational and experimental modes, but that doesn’t mean she’s forgotten her roots, which come in handy on this album’s two accessibly tuneful and sonically overwhelming pieces. They were recorded at the Dekanatspfarrkirche during festival artacts ’24. Performing in a church means having access to its organ, and church organ and surrounding space are her instruments on this remorselessly onrushing wall of sound. Throughout Schmoliner takes full advantage of the organ’s potential for polyphony, ”Achna” evolves slowly, stretching like a dragon waking from a hundred-year nap, but things really kick into motion on side two. On “Ascella” Schmoliner casts rhythmic cells that roll down the center of the piece like strike-bound bowling balls while massive chords rush overhead like a looming thunderhead. The music’s melodic progress is more patient, but unwavering, contributing another layer of inevitability.

Bill Meyer

Television Personalities — Tune In, Turn On, Drop Out: Radio Sessions 1980-1993 (Fire)

Tune In, Turn On, Drop Out – Radio Sessions 1980-1993, is a gratifying demonstration of Television Personalities’ consistently great songwriting and offers an intimate experience of the music. Whatever the shifting qualities of the band’s formal output, recordings like these present a group excelling at core, in sticky, bratty, grandiose and heartbroken pop. Even accounting for the fuzzy, cover-heavy 1993 WFMU session — see “Why Can’t I Touch It?” for a shaky desperation The Buzzcocks couldn’t muster — the pared clarity of this collection benefits the listener’s ability to focus on the songs. “Look Back in Anger,” recorded in 1980 for John Peel, is tighter, cleaner and, as a result, more impactful than the version that closed the band’s debut, …And Don’t the Kids Just Love It, a year later. The playing is punchier and does more to carry Dan Treacy’s vocals, which sound, for their relative tidiness, angrier and more stirringly resentful. From another angle, “Salvador Dali’s Garden Party,” recorded for the BBC in 1986, lacks the studio effects that crowd the version released on 1989’s Privilege. Out are the wobbling, warbling synthesizers, samples and vocal filters; emergent is the song’s bouncy, demented tunefulness. “Paradise Is for the Blessed” offers an interesting comparison in that the album version (again, Privilege), even with the requisite-to-era splashy drums, lightly rumbling bass and sky-grazing guitar jingle, doesn’t lack for emotional payoff. There, Treacy sounds starry-eyed, sad but at ease, a bit contemplative. Here, the guitar’s jingle is a crinkled jangle, the drums are blunter and the vocal wearier, more wrung out and raw. It’s sympathetic and human, an outpouring from a friend you’re glad you picked up the phone for.

Alex Johnson

Tremosphere — saturated solace

Tremosphere works from a very nocturnal space, its shadowy sonic caverns constructed out of splayed guitar strums, looming synths and a chilled murmur of singing. The singer, Sylvia Solanas, who also plays bass, piano and synths has worked with Michael Serafin-Wells for four albums now, concocting restless, agitated beauty out of unease. These songs slither and creep, insinuating themselves by osmosis. They might remind you, a little, of Elisa Ambrogio’s soft but extreme dream pop or of Dora Blue’s elusive art song or even Leya’s heat-mirage operas dissolving as you hear them. Echo-shrouded “Along the Way” slips by like silk, frictionless and cool, but it comes from mindset of anxiety and alienation; the artists dedicated this track to the trans community, now more than ever under siege.

Jennifer Kelly

Tu M’ — Monochromes Vol. 3 (LINE)

Italian multimedia artists Rossano Polidoro and Emiliano Romanelli were active as Tu M’ between 1998 and 2011, producing site specific audio-visual installations for gallery and museum spaces across Europe. On volume 3 of the Monochromes series, LINE brings together nine previously unreleased tracks recorded in 2008 and 2009. Tu M’s music hangs gently, dispersing in the air like vapor trails. In the interplay of light and shadow and the duo’s painterly attention to detail, there is sense of the ears’ focus altering as the music undulates around them. Tu M’ make aural and spatial environments in which meaning is less important than impression. There’s an eternal presence here, a timeless landscape, an endless sky. Onto that permanence, Polidoro and Romanelli project the evanescent beauty of human creation. Admirers of Eno, Basinski and Biosphere will find much comfort here.

Andrew Forell

Various Artists — Across the Horizon, Volume 1 (Northern Spy)

The first three “drops” from the Across the Horizon series showcase shimmering drones and aching arcs of melody in the instrumental cosmic country genre favored by creator Bob Holmes of SUSS. Each edition is, itself, curated by an established artist, who then selects two other artists they admire (though the compilation doesn’t specify who’s who). In any case, there are some lovely, lingering atmospheres at play in these tracks, whether the hovering auras and sandpaper rhythms of MJ Guider’s “To the Hour” or Pan American’s lucid, liquid “Point Harbor,” an Impressionist painting played on slide guitar. Drop 2 features Nashville pedal steel-ist Luke Schneider, once by himself and once with kindred spirit Marisa Anderson, both waking dreams of soft textures and billowing tone; fellow Nashvillian Kurt Hammett contributes the other cut, letting the twang glide over intricate webs of picking. Drop 3 veers towards the electronic in Dave Harrington’s Kingston-haunted “Cafecito Dub,” then tilts towards jazz in alto saxophonist Nicole McCabe’s evocative “Fixtures.” Eucademix, apparently a Yuka Honda project, closes out this edition of Across the Horizon, in shivering layers of electric keyboard, synths, guitars and jingling percussion.  

Jennifer Kelly

Yves De Mey — Force Over Area (Totalism)

Force over area equals pressure. Belgian producer Yves De Mey exerts his in a series of knotty miniatures that push and probe with deliberate claustrophobic insistence. Irregular beats rain down, odd niggling squiggles gnaw and scrape, nothing quite settles. This is music as virus, replicating and mutating within his machines. The title track weighs heavy upon febrile cells which seek to squirm from beneath the enveloping swell. De Mey delights in queasy juxtapositions, insectoid buzzing, creaking rust ridden metal, the pops and blips of deterioration. He conjures a sense of vegetal rot, of infection and decay, of mortality. Force Over Area could well serve as the soundtrack for dank atmospheres of his fellow Belgian, painter James Ensor, perhaps played on the remains of the harmonium that obsessed Ensor in his later years.

Andrew Forell

[dustedmagazine]

Ben Shirken — H.D. Reliquary (29 Speedway)

Photo by Hailey Heaton

New York sound artist Ben Shirken creates fractured scenes for a fragmented world. Repurposing material from his archive — the hard drive reliquary — and bringing in collaborators from the circle of experimental musicians associated with his 29 Speedway label and performance series, Shirken works at the intersection of chamber music and electronic manipulation. Featuring cellists Dorothy Carlos, Aliya Uitan and MIZU, violinist Scott Li, bassist Kevin Eichenberger, trumpeter Ryan Easter and sound artists Pavel Milyakov, Muein and Sarilou, H.D. Reliquary is the aural equivalent of a Joseph Cornell box. Glimmering passages abut broken remnants and besmeared artefacts in a cabinet of psycho-geographical invocations and dream symbolism.

Shirken opens in the haunted playground of “Scattered Cipher.” Shards of controlled feedback, subway rumblings, smudges of strings, a group of children sings a taunting nursery rhyme, malevolent giggles, occult echoes of place and time. Thereafter, Shirken sets his collaborators in atmospheres that counterpoint the delicacy of their playing. On “Take It All” Carlos’ impressionistic cello and Muein’s whispered vocals are enveloped in ambient swells and flickers of digital detritus. Eichenberger’s arco bass underpins a wordless almost operatic voice in a cloud of ash on “Greg’s Thesis” and Li switches between sonorous to irritable on the glacial “Chimera.” MIZU accompanies the sleep talk mutterings of “Surrender Your Will” with long yearning notes and arpeggiated jabs that sparkle amidst the murk. On “Trace,” Easter slurs a trumpet solo into beaming clarity above vague mutterings and liquid washes before a church bell signals collapse. The solo pieces like “Scattered Cipher” follow a dream logic, fractured collages that evoke snatches of memory, momentary emotional tremors and an overworked subconscious cataloguing random files. “Image/Player” for instance bubbles along with snatches of song, laser whips of synth, the beating of the blood and a pan flute perhaps representing the shepherd of thought. The split inferred in the title is echoed in the closing piece “Splinter” with Sarilou adding ethereal vocals and Uitan a droning cello to Shirken’s restless electronics.

Shirken’s work plays as a suite in which motifs and themes orbit in constellations of association. An uncannily evocative work, H.D. Reliquary is an archive full of wonders built from scraps and memory.

Andrew Forell

[dustedmagazine]

Dust Volume 10, Number 11

Photo of Alan Licht by Stu Lax

One of the oddest, most disturbing developments in recent years is the devaluation of expertise. If a souped up auto complete program can write a screenplay, who needs writers? If scientific guidelines about how to stave off a plague make us angry or confused, who wants them? Anybody can be anything, given enough cash in their pockets, thought, evidence and fact be damned. So, it is somewhat unfashionable that Dusted continues to seek out artists who are good at what they do, whether they are conservatory trained or DIY, steeped in historical tradition or trying something new. Our monthly Dust highlights another batch of them. Bill Meyer, Andrew Forell, Tim Clarke, Jennifer Kelly, Jonathan Shaw, Ian Mathers and Bryon Hayes contributed.

John Butcher / Florian Stoffner / Chris Corsano — The Glass Changes Shape (Relative Pitch)

This autumn, English saxophonist John Butcher celebrated his 70th birthday. For the occasion his fellow musicians donned t-shirts proclaiming, “You can only trust yourself and the first ∞ John Butcher albums.” Yes, he puts out quite a few, and no, I’m not up to date. The completist’s task is even more daunting when one considers just how much music is packed into each of the nine improvisations on this concert recording, his second with guitarist Florian Stoffner and percussionist Chris Corsano. Timbres, volumes and modes of attack change from second to second, living up the album’s title; not even the music’s form I fixed. No one’s resting on laurels here. Corsano plays with rare spaciousness, and Butcher often seems to be playing up the contrasts between his horns’ tonal fluidity and the jagged edges of Stoffner’s contribution. Pardon the paradox, but each track is a subdivision of ∞, and there’s no end to the time you could spend getting profitably lost in one.

Bill Meyer

Cybotron — Parallel Shift (Tresor)

in 2019, legendary Detroit producer Juan Atkins rebooted his 1980s electro project Cybotron with Laurens van Oswald (nephew of Basic Channel founder Moritz) and Tameko Williams (Detroit In Effect). Atkins takes the technological matrices of his hometown’s now largely defunct manufacturing plants and Kraftwerk’s “Autobahn” and twists them through an afro-futurist wormhole. The trio’s latest 12” single “Parallel Shift” sets Atkins’ robotic vocals and lockstep machine beats against melodic synths and warm bass tones. As Atkins insists on a “parallel shift”, smuggled elements of Clintonesque funk and drifting reverie suggest subversion of strictly linear time. The B-side “Earth” is a more straightforward piece of electro with the emphasis on syncopation. The track flickers with sci-fi synths as Atkins posits human rhythms as a form of cosmic consciousness. Volume up and eyes closed, you will be transported.

Andrew Forell

Dean Drouillard — Mirrors and Ghosts (self-released)

This instrumental solo album by Canadian guitarist Dean Drouillard is a series of hazy noir scenes. At its brightest and most melodic, as in “Portland” and “Gorgasuke,” it’s reminiscent of the vivid, playful miniatures of Opsvik & Jennings’s A Dream I Used to Remember. Elsewhere, the album is decidedly more atmospheric and ambient, akin to the widescreen explorations of Daniel Lanois’s Flesh and Machine. The album’s largely introspective nature is no surprise when you learn Drouillard played and recorded all the instruments himself. His guitar playing in particular is evocative and tastefully restrained. At once intimate and widescreen, Mirrors and Ghosts feels both eerily melancholic and gently uplifting.

Tim Clarke

Fievel Is Glauque — Rong Weicknes (Fat Possum)

Though Fievel Is Glauque are technically a duo — songwriters Zach Phillips (Blanche Blanche Blanche) and Ma Clements on keys and vocals, respectively — for new album Rong Weickes they assembled a crack team of six other players. Musicians on drums, bass, electric guitar, woodwinds and brass flesh out a dizzyingly complex and gratifyingly daft soundworld. Think 1970s prog-folk; think Napoleon Murphy Brock–era Frank Zappa; think Julia Holter spiraling down a jazz-fusion black hole. Rong Weicknes is a LOT. Tellingly, many of the album’s most accessible songs, including singles “As Above So Below” and “Love Weapon,” plus the beautiful and relatively calm “Toute Suite,” arrive early in the track list. Opener “Hover” is perhaps the best example of the band’s bonkers “live in triplicate” working method, in which multiple takes are stacked one on top of another, then chiseled down to reach a final mix. It’s chaotic, like multiple candy-colored Escher staircases spiraling off in different directions at once. In this realm of music-making, too much is never enough, and the line between virtuosic brilliance and over-the-top absurdity bends and blurs. Given the chaos is cumulative, listening to the album from front to back tends to result in ear fatigue during the second half, no matter how many brave attempts it takes to tackle it all in one go.

Tim Clarke

Helena Hauff — Multiplying My Absurdities (Tresor)

Hamburg DJ and producer Helena Hauff’s debut EP for Tresor is three tracks of full-on throwback acid trance. Expertly structured over 22 minutes of build, crescendo and release, Hauff combines thumping beats and bass tones with a detached darkwave cool and a healthy smear of analogue soot. Think Roland drum machines & 303 bass, squelching synths, arpeggio runs and all nature of odd grimy ghosts grumbling in the machines. Hauff reaches her apotheosis on “Punks in the Gym”, named for an Australian rock climb known as the hardest in the world (and now closed as an Indigenous Heritage site). It starts hard, with the bass in the red zone and the drums not far behind, and arpeggiated synths screaming like a drill sergeant. The plateaus, when they come, are mere toeholds for the next ascent. It’s a relentless, punishing piece. And when, near the end, Hauff drops everything but the kickdrum, it’s like watching the sun rise at an outdoor rave to, hearing nothing but your beating heart.

Andrew Forell

Rafael Anton Irisarri — Façadisms

Rafael Anton Irisarri creates music with the grandeur of a vast, wasted landscape. He brings his experience as a mastering engineer to bear on all his recordings, rendering them dense and immersive, stacked high with thick waves of guitar and synthesizer tone. Façadisms is no exception and features two highlights. “Control Your Soul’s Desire For Freedom” features searing cello from Julia Kent and angelic vocals by Hannah Elizabeth Cox, and “Forever Ago is Now” features string arrangements from T.R. Jordan, which carry the album’s most anthemic chord progression. Façadisms’ blasted textures are never less than compelling, but these tracks are twin peaks within the record’s glowering sonic geography.

Tim Clarke

Charlotte Jacobs — Atlas (New Amsterdam)

Charlotte Jacobs’s songs are a little shy. They lurk in corners and grow up from cracks. They venture fluidly out of empty space, eddying and cascading through echoing caverns, with just a little glitch beat or a surge of synth tones to ground them. Jacobs is a conservatory Belgian composer and singer here making her first solo album. Her voice comes in breathy flutters, a little like Mirah at her most acoustic and spare, but she hedges that fragile bloom in masses of digital sound. A devotee of Ableton, she makes the synth sound like all kinds of instruments, a quacking oboe in “Celeste,” a ghostly choir in CYTMH.” Records seldom sound simultaneously this bare and this layered. There are many elements in play, but all scrubbed clean and hemmed in by silence.

Jennifer Kelly

Alan Licht — Havens (VDSQ)

With Havens, Alan Licht flips the attack-decay-sustain-release envelope of the guitar on its head, folding notes and chords over each other in waves. He does this with a heft to his tone, so that chord progressions become waterfalls and melodies emerge like vine-like shoots, growing in many directions simultaneously. Licht’s songs mesmerize with repetition, but the tones resonate such that they fold back on themselves, creating entirely new patterns for us to discern. The cover art reflects his steel string sorcery, as a dull-colored house surrounded by twilit swirling clouds emits beams of red, yellow, and orange light from its many orifices. A variety of energy levels and frequencies are represented here, and they reveal themselves in surprising ways. Throughout his career, Licht has straddled the worlds of indie rock and the avant-garde, and Havens tugs at both sides, creating a new universe entirely: one where resonance rules over everything else.

Bryon Hayes

Longobardi + Cecchitelli — Maloviento (LINE)

Italian sound artists Ernesto Longobardi and Demetrio Cecchitelli create minimalist environmental works built from droning sub-oscillations that emerge from a haze of white noise. The four pieces on Maloviento, titled by duration, are arctic. Slow, evocative of shifting ice and wind swirling across bleak landscapes.. 14’24” is frigid amalgam of staticky cracks and sheets of white noise that rise and fall with increasing intensity. The duo intersperses these with sounds of dripping stalactites and pings of some distant beacon signaling into the abyss. It immerses the listener in an alien and alienating environment in which you find yourself clinging to these noises as the only way to get your bearing. 21’18” is slightly kinder. More recognizably human sounds emerge. Breath labored by cold, a trudge of footsteps and a muttering voice culminating in the introduction of a flute. Tentative at first, it gathers strength and warmth before being absorbed into the ice. Riveting stuff.

Andrew Forell

Man/Woman/Chainsaw — Eazy Peazy (Fat Possum)

Young London sextet Man/Woman/Chainsaw emerged from the scene that includes bands like Black Midi and Black Country, New Road with whom they share a similar omnivorous musical DNA. Vocalists, bassist Vera Leppanen and guitarist Billy Ward have been playing together since they were 14. Now approaching 20, and joined by contemporaries Emmie-Mae Avery on keys, violinist, Clio Harwood violin, Ben Holmes on guitar and drummer Lola Waterworth, M/W/C play punk infused theatrical rock, not quite as knotty as their near contemporaries, but fully embracing the chaotic energy of musicians pushing themselves to fit all their ideas into songs that dance delicate and furious. The acutely observed kitchen sink dramas of “The Boss” and “Sports Day” burst from the speakers, withering in word, and balanced by Harwood’s sawing violin and Avery’s delicate keys. Leppanen a powerhouse on the former, Ward all snarling self-deprecation on the latter. In contrast “Grow A Tongue In Time” is almost dainty with its curlicue of violin, bass, and keys tempered by Leppanen’s rasp that speaks of a desperate frustration echoed in the washes of cymbals that swarm towards the end. A band with space to grow and one to watch out for.

Andrew Forell

The Modern Folk — Primitive Future III (Practice)

This expansive collection spans 20 songs and nearly as many years for the folk centric but ambi-curious guitarist Joshua Moss (who, full disclosure, recently started writing for Dusted). His music here takes many forms, from the blues rock chug of “Shiver Shaker,” which could pass for an alternate universe outtake from Jon Spencer’s Heavy Trash to the cosmic twang of “Hippy Sandwich,” running closer to Ripley Johnson’s Rose City Band or the Heavy Lidders or whatever Matt Valentine is doing this week. There’s room, too, for lucid, radiant blues-folk picking, twined with bowing in “Braided Channels” or abetted in shimmery gossamer by Jen Powers on dulcimer on “You’ll Have That,” or left to strike out unadorned on luminous (and aptly titled) “Subdued.” Some artists try something different to prove they can. Moss lets the change grow out of old roots, supple, green and lovely. One other item of note: all proceeds are earmarked for hurricane relief.

Jennifer Kelly

Paprika — S/T (Iron Lung)

Paprika had already released the excellent, caustic Let’s Kill Punk LP this year, so this new EP is an unexpected November surprise. Are you thankful? It’s pungent and nasty stuff — Paprika sounds like the grittiest elements of NYC punk rawk, c 1976, partying with the hepped-up hardcore of Government Issue or Dirty Rotten EP-period DRI. If that sounds like fun, it sort of is, if you can listen past the nihilistic sentiments expressed in tunes like “Catatonic Pisser” and “Wasting Time.” This reviewer especially likes the self-lacerating qualities of “Supply Chain Wallet,” which explores the ways in which even filthy, greasy punks have a variety of fashion sense, implicating them in capital’s machinery. The band is more direct: “I’m chained to my wallet / Don’t you fuckers know? / Money is dirt.” Word.

Jonathan Shaw

Rock Candy — Swimming In (Carbon)

Rock Candy is Krysi Battalene (Mountain Movers, Headroom) and Emily Robb. Both are guitarists of just renown who, if they decided to open up an optical shop, would specialize in third-eyewear. Together, they refrain from six-string calisthenics in order to focus on nuanced expressions of motion. “Swimming In” is all about drift, albeit with enough surface tension for a stuttering guitar figure to loom over the undulating organ-scape. “Across A Mirage” sets slide vs. reverb, each fighting for footage on a mechanical Clydesdale beat. The cost of vinyl being what it is, some folks might question the point of picking up singles. This year, Rock Candy is the angle that dispels such faithless notions.

Bill Meyer

Sif — Aegis of the Hollowed King (self released)

If you were going to make solo instrumental doom metal about video games, Dark Souls is certainly one of the few that feels like it actually fits. What makes the second LP from New Orleans-based Sif work as well as it does, though, is how much Aegis of the Hollowed King engages with what’s actually compelling about the FromSoftware series beyond any surface level trappings of swords, monsters and boss fights. Here focusing on what even they admit is an “understandably maligned masterpiece,” Dark Souls II, these four tracks don’t try to overwrite the game’s fantastic actual soundtrack (by Motoi Sakuraba and Yuka Kitamura). Instead they invoke how much of the experience of painstakingly making your way across Drangleic is suffused with melancholy horror (yes, occasionally leavened with moments of brutally-won success). That atmosphere has been translated into a doom metal idiom, but that just means even the most elegiac elements here continue to crush.

Ian Mathers

Sulida — Utos (Clean Feed)

The phrase “good old-fashioned free jazz” could be applied to this Norwegian trio’s album, no disrespect intended and none dealt. Marthe Lea’s gruff tenor sax balances the unbridled emotion and considered poise of Ayler and Tchicai, and Jon Rune Strøm and Dag Erik Knedal Anderson negotiate points of structure vs. flow in ways that would do Hopkins and McCall proud. There are also moments that bring to mind Don Cherry if he had given full allegiance to the Swedish woods instead of the world. And yet, the character of each musician shines through, so that this music feels alive rather than merely reanimated. Ready to rumble by unfailingly lyrical, Utos is a friend in unfriendly times.

Bill Meyer

[dustedmagazine]

Body Meπa — Prayer in Dub (Hausu Mountain)

Photo by Daniel Efram

Across the surface, guitarists Sasha Frere-Jones and Grey McMurray weave febrile webs. Their interplay catches the ear immediately but it’s the kinetic rhythms laid down by bassist Melvin Gibbs and particularly drummer Greg Fox that really stick. The title of Body Meπa’s Prayer in Dub is something of a misdirection. Although elements of both are present in the often-meditative atmosphere, ample space, and grooves of the quartet’s second album. The four musicians here have deep histories in improvisation, art rock, jazz and contemporary classical music and fuse elements of those styles into instrumentals that recall bands like Mogwai and Slint more than say, the myriad dub fusions of Bill Laswell. The music emanates from an almost telepathic understanding between a group of peers with shared intuition and a generosity of spirit that allows structures to develop in cooperative and organic patterns. Even when they seem to be spiraling away on individual orbits there is a centrifugal logic that holds everything together.

“Etel” opens on Fox’s double time snares as the guitars circle searching for a common thread. Beneath that Gibbs plays rich and smooth, a steady anchor for the explorations. The guitars fill the space between building slowly. The contrast with the drums’ tempo, a rein on a runaway horse. When the track approaches the halfway point, the rhythm section loosens, freeing the guitars to ascend into swathes of ecstatic atmospherics. Not precisely chaotic, more a determined feeling out, a testing the possibilities. What follows is a series of nuanced explorations of texture, mood, and tone. Body Meπa are experts at both concision and expansion. At 85 seconds the interlude “Welcome” passes in a swirl of cymbals and pensive electricity before segueing into the slow burn psyche influenced “Deborah” with its distorted guitar blistering over a bluesy rhythm which stutters along beneath. It’s the most overtly “rock” piece here but as it seems to collapse into itself, it feels like the despair of loss. The 16 minute plus “Scout” showcases the quartet’s ability to locate and embody essential truths. With the musicality of Fox’s drumming and the heft of Gibbs’ bass to the fore, McMurray and Frere-Jones patiently intensify their interplay. You feel the storm approach and it breaks upon you as emotional maelstrom and cathartic release, splendid in its power and cauterizing in its effect. An antidote for the times.

Andrew Forell

[dustedmagazine]

Amanda Mur — Neu Om (La Castanya)

Born in the autonomous community of Cantabria on the Bay of Biscay in Northern Spain, pianist and vocalist Amanda Mur draws on her homeland’s rich folkloric traditions, her classical training, interest in electronics and operatic vocal control to create music that feels both timeless and entirely modern. On her debut album Neu Om, she creates powerful incantatory effects from polyphonic vocal arrangements set in the ritualist repetition of worship, ambient minimalism and classical orchestration. Self-produced with assistance from composer Adrian Foulkes on three tracks, Mur arrives with her musical vision fully formed. By turns otherworldly and deeply engaged with current events, she seems to exist on her own plane. Her voice whether celestially multitracked or intimate murmur is a supple wonder.

The opening title “Maithuna” refers the Tantric concept of intercourse as a sacred ritual in which sexual energy is focused to achieve spiritual unity. Sara Ortega López contributes cello to the gathering frisson as Mur intones alone and then in a multitracked call and response. The song is a deliberate slow build, the feeling of energy harnessed in anticipation of transcendence. “Mutante” is all mystery and communion, with delicate piano lines, hand drums and Arturo de las Casas’ viola da gamba adding a warm droning undercurrent. There are hints of flamenco and Moorish rhythms on the “Vapah”  and “Pédulo que balla” both of which feel like sacred folk songs, contrasting the purity and confidence of Mur’s delivery with pensive play of the strings and percussion.

In two songs that deal directly with politics, Mur uses techniques from electronic music to anchor the hymnal quality of her voice. “Pandemic” rolls on a tumbrel drum beat augmented with a flickering counter beat, surges of sub bass and Foulkes’ subtle synth fills. The vocals move easily between quiet confession to soaring high registers. She breaks into English to recite “We have to wear our masks now”.  After the prayerful introduction to “Canto a’los migrantes” she wonders “Who will pray?/For those who get to the other side/with Luck/and want to talk/and there is no such universal language” as the music dissolves into a ritualistic beat.

Mur is such a singular presence and her debut so rich with expertly balanced musical ideas that even at a relatively brief 29 minutes, Neu Om is an entirely nourishing experience.    

Andrew Forell

[dustedmagazine]

Dust Volume 10, Number 9

Photo of Aerial M by Tim Furnish

We’ve got a couple of Peel Sessions in this month’s batch, and it makes you think about how people can go on shaping the taste of millions, finding new bands, bringing up worthy underdogs for decades, and then stop. We come to rely on these people—John Peel for sure, but there are others—but they’re not here forever, and who will step up when they’re gone? Well, we’re not saying we’re John Peel, not by any stretch, but we’re still here at Dusted, still digging the obscure and overlooked, still operating in more or less a vacuum. We don’t make Dusted for the clicks or the acclaim and certainly not for the cash (there is none). We do it for each other. We do it for the bands. We do it for you.  

Anyway, we hope you enjoy this iteration of Dust. Jennifer Kelly, Christian Carey, Bill Meyer, Jonathan Shaw, Tim Clarke, Bryon Hayes, Ian Mathers, Andrew Forell and Jim Marks contributed.

Aerial M — The Peel Sessions (Drag City)

This three-song EP collects the output from Aerial M’s only Peel Session, recorded on March 3, 1998 (it was broadcast about a month later). Here in the interim between Slint and Papa M, David Pajo lays down an extended version of “Skrag Theme,” an alternate version of the single “Vivea,” and “Safeless” from the 1998 Vivea EP (which, very curiously, did not include a version of “Vivea”). Although Aerial M is largely considered a solo effort, Pajo was accompanied on this occasion by a crack Louisville post-hardcore ensemble: Tony Bailey, a veteran of more than 40 Kentucky underground bands, on drums; Cassie Marrett, who would later be known as Cassie Berman and a member of Silver Jews; and Tim Furnish of Parlour, Crain and the For Carnation. That band knocked Pajo’s Aerial M songs for a loop, pushing the woozy guitar tones of “Vivea” with a gut-checking drum beat and shading it subtly with either a keyboard or a melodica. Still moody, still layered with guitars, but subtly more physical, the track is the stand-out of the three. Likewise “Skrag Theme” fills out with a live band, its cerebral guitar lick anchored by the weight of drums and bass. “Safeless” spins out lyrically, meditatively, from a guitar line too chilled and thoughtful for rock, but not exactly jazz either. It’s all enough to make you wonder how things would have turned out if this band had kept at it, pushing at the boundaries of rock and noise and psych together.

Jennifer Kelly

Franco Ambrosetti — Sweet Caress (Enja)

Flugelhorn player Franco Ambrosetti brought together an all-star cast to record at Skywalker for his latest Enja release, Sweet Caress: pianist Alan Broadbent, guitarist John Scofield, bassist Scott Colley, and drummer Peter Erskine, with a generous string section alongside. Broadbent is also arranger and conductor. They dig into an estimable list of standards such as “Soul Eyes,” “Old Friends,” and Charlie Haden’s “Nightfall,” the latter of which sent me right to the piano to learn it. Ambrosetti has a rounded tone and enjoys adding fleet runs to his solos. His colleagues are equally fluent, and a solo violin introduction on the title tune underscores the album as a whole’s suavity.

Christian Carey

BassDrumBone — Afternoon (Auricle)

If you don’t know anything about BassDrumBone, after one look at the cover of Afternoon, with its image a many-ringed tree stump,you’ll have a pretty good idea of what they play, as well as the band’s collective sense of aging. And you’d be right, twice over. Mark Helias plays bass, Gerry Hemingway drums, and Ray Anderson is on trombone, and they recorded this album 46 years after they first got together. What you won’t know until you play it is how comfortable they are with each other, not as in “let’s kick and blow some old tunes,” but in the “I’ve got your back and I know you have mine, so let’s see what happens” sense. They alternate between written tunes that exploit the line-up’s potential for turning tight angles and improvisations that journey from eerie chamber abstraction to robust swing on a path pocked with aside-inducing holes in the road.

Bill Meyer

Black Mold — In the Dirt of Oblivion (Hellprod)

Grim, grotty blackened punk from somewhere in Portugal, released for your unpleasure on a shitty-sounding cassette. That sort of willfully outmoded packaging is the sort of thing that the hipster kids in the various undergrounds love to pieces — but the technical atavisms are unironically earned here. How else should we listen to a song called “Faint in Obscurity”? Turn that tune up loud and you’ll hear all the tasty, weirdo guitar tracks churning and distending under the mix’s buzzy, brittle surface. Is it frustrating that Black Mold seems to care about how their music strikes your battered, beleaguered earholes, and the indifference to anything resembling recording fidelity turns that care in on itself? Is that punk perversity? Kvlty authenticity? When the music is this raw and exciting, does it matter? In any case, the tape closes with a song called “Futile Purpose,” so fuck it, and fuck us all for giving a shit in the first place. Black Mold doesn’t.

Jonathan Shaw

Broadcast — Distant Call: Collected Demos 2000-2006 (Warp)

Following May’s 36-track Spell Blanket, a sprawling, varied and intermittently brilliant collection of Broadcast demos dating from 2006 to 2009, Distant Call is now the final release from Broadcast. It’s a much more succinct and consistent collection of songs, most of which are spare voice-and-guitar renditions of tracks that made their way onto Haha Sound, Tender Buttons and The Future Crayon, including essentials such as “Tears in the Typing Pool,” “Where Tears and Laughter Go” and “Pendulum.”To anyone familiar with the band, it’s not only striking to find that much of the character of these songs resides in Trish Keenan’s unique songwriting style and vocals, but also how much the full album arrangements and production contribute to their vivid realization. I can’t imagine wanting to hear any of these versions in preference to their album incarnations, but there are a couple of previously unreleased songs to sweeten the deal: “Come Back to Me” and “Please Call to Book.” The former’s sing-song melody over ripples of fingerpicked guitar is archetypal Broadcast, eerie and mesmerizing. The latter closes out the collection in a hushed, hesitant manner, with lovely harmonized vocals and a bright swell to the chorus: “When the sun shines inside the sun shines outside.” It’s a bittersweet send-off to one of the most beloved and influential bands of recent decades.

Tim Clarke

The Gabys — Self-Titled 7-inch (Fruits and Flowers)

The Gabys are from the U.K. but are sonically aligned with San Francisco’s bedroom pop scene. Stalwart Bay Area scenester Glenn Donaldson is a fan. His band The Reds, Pinks & Purples has covered “Molly” from the duo’s debut cassette, and he’s released two of their EPs on the Fruits & Flowers label he co-runs with Chris Berry. The Gabys’ music also runs parallel to the general sonic milieu of Paisley Shirt Records, another SF-based champion of fuzzy DIY sunshine. The duo pair the romantic and jangly edges of The Velvet Underground’s oeuvre with vocals eerily reminiscent of Young Marble Giants’ Alison Statton. Their home recording ethos lends their sound a hazy quality. On past releases, Matt and Natasha (the pair behind The Gabys name) have wrapped their harmony-filled song nuggets in clouds of lo-fi murk, but this latest EP polishes off their sound and reveals a quartet of brief and beautiful tunes. This additional clarity makes reveling in The Gabys’ jangly sound world even more rewarding, so hopefully the pair unveil more music soon.

Bryon Hayes

Christoph Gallio Roger Turner — You Can Blackmail Me Later (Ezz-thetics)

While the album name and certain of the track titles imply belligerence, this music steers clear of hostility. However, it’s perpetually tense and mercurial, with pungent horn phrases sharing space with featuring swift changes of attack. Swiss saxophonist (soprano, alto, c-melody) Christoph Gallio sounds exceptionally distilled, doling out pungent tones that gradually build in length and mobility. Englishman Roger Turner’s drumming is a master class in making each strike count and using shifts in volume to shape the music. The duo struck up an ultimately robust partnership when Gallio moved to London for a six-month sabbatical with the express intention of studying London’s improvised music scene. A single gig launched a sequence of private, recurring encounters, during which they hashed out the shared language heard here.

Bill Meyer

Gleaming Shard — Mirrors in Light Diamonds (Balance Point Acoustics)

Gleaming Shard is an improvising duo based in Chicago. Both of its members, prepared guitar player Da Wei Wang and percussionist Jerome Bryerton, have shared stages with musicians you might follow if you’re into that scene, but on Mirrors in Light Diamonds they clear a zone of their own. The instrumentation — mainly a couple guitars on a table and an array of gongs — has some precedent, and so does their sound. But connecting tools to output is a bit harder to do. The album’s six pieces sound like field recordings made at noon in a town comprising nothing but churches. Tom Verlaine once sang about walking around in the ring of a bell, but these guys have set up shop and spent so much time there that their postures have been molded to fit the furniture. It’s a marvelously engulfing racket.

Bill Meyer

hkmori — in search of a life worth living (self released)

How you feel about the work of enigmatic producer hkmori can probably be summed up by how you feel about the genre name “depressive breakcore.” Incomprehension and/or revulsion? Well, there’s plenty of music out there to check out instead. But if instead you’re intrigued by the idea of melding one type of sonic extremity to a different type of emotional extremity (kind of similar in spirit if not at all in sound to depressive black metal, actually), c’mon in. The four EPs hkmori has posted on Bandcamp in 2022 and 2023 are all strong examples of the form, and now their first 2024 release feels like it widens the scope just a little bit. Yes, you’ve still got songs like “tearsoaked pillows” hitting that sweet’n’sour spot, but on “What even is b@#$%core?” and “unrequited meaning” you start getting some new tones and timbres introduced (emotionally and sonically). Still not for everyone, but if you’re on this wavelength it’s another solid transmission.

Ian Mathers

Hubbub — abb abb abb (Relative Pitch)

abb abb abb, the fifth album by Hubbub, was recorded in 2019. This makes it an unofficial 20th anniversary observation by the French electro-acoustic improv unit, which comprises Fréderic Blondy, Bertrand Denzler, Jean-Luc Guionnet, Jean-Sébastien Mariage and Edward Perraud, released just in time for its 25th. Sometimes good things take time, and while the ensemble’s music is created in the instant of performance, it’s informed by a lot of history and takes its time manifesting. While its line-up (reeds, electric guitar, piano, percussion) and component personalities differ, there are aspects of 1990s AMM in the tension that Hubbub obtains from the tectonic friction of sonic layers. However, the music’s silence to event ratio is never so large, and the saxophonists stand ready to switch into close, prickly interaction, which combine to give the music an austere muscularity.

Bill Meyer

Hybrid — Movable Objects (Self-released)

Hybrid is New York tenor saxophonist Adam Larson’s trio with Chicago bassist Clark Sommers and Kansas City drummer John Kizilarmut. On Movable Objects they take a low key but sophisticated run through a 40-minute set of original material. As soloists they favor oblique melodic and rhythmic approaches to passionate intensity and technical fireworks and their interplay has a complexity and depth that reveals itself beneath placid surfaces. On “November to March” provides the template as the trio move from a simple opening motif into deft improvisation with deceptive ease. Sommers’ solo seems to slip sideways before you realize it, darting like a hummingbird from idea to idea. Kizilarmut makes fine use of his rims playing with a relaxed feel that seems to shrug at his inventiveness. Larson is likewise an agile presence, his tone sharp and he invests his runs with both emotional depth and satisfyingly unpredictable turns.

Andrew Forell

Isik Kural — Moon in Gemini (RVNG Intl.)

Isik Kural presents a different kind of expression than that of previous recordings on Moon in Gemini. Gentle lullabies and dulcet vocals provide a mood that transcends mere ambience into back to the womb sound bathing. “Almost a Ghost” is affecting, with hummed backing vocals, plucked acoustic guitar, synth harp, and field recording snippets supporting a laconic lead vocal. “Behind the Flowerpots” has dulcet upper register singing accompanied by scalar pitched percussion and a repeated chord progression in synth strings. The final track, “Most Beautiful Imaginary Dialogues,” quotes a Silvina Ocampo poem, convincingly summing up a warm outing that is compelling rather than cloying.

Christian Carey

LDL — In the Endless Wind (Wide Ear)

in the endless wind by LDL (Leimgruber - Demierre - Lehn)

LDL is soprano saxophonist Urs Leimgruber, (mostly prepared) pianist Jacques Demierre and analogue synthesizer player Thomas Lehn. Originally Barre Phillips held Demierre’s space, and for a time they were a quartet. Years of improvising together have resulted in a shared language that is simultaneously distinctly tripartite and irretrievably blurred; Lehn and Demierre can each run the other’s signals through their respective instruments, and Leimgruber’s high, lacerating shards of pitch come startlingly close to those of Lehn’s synth. Thus, the action often comes from sounds pixilating, flickering at the edge of silence, combining into dense blocks that are decayed around the edges, or snapping back into conventional voices. Their interactions mutate and reconfigure, inviting the listener to follow them on a trip that’s unfailingly alien but never gratuitously weird.

Bill Meyer

loscil // Lawrence English — Chroma (self released)

Colours of Air, last year’s debut full-length collaboration between loscil (Scott Morgan) and Lawrence English, did so much with its pipe organ source material that it’s not shocking that Morgan and English might take another kick at the can. If anything, the surprising part is that while Chroma is identifiably part of the same overall project, it does have a distinct identity, one even gentler and quieter than its predecessor. It also, in the form of “Vermillion,” has an example of how the duo’s live shows went, presenting a gorgeous excerpt from their set at the Vox Organi festival in Vancouver. Fittingly enough, “Vermillion” is the track across both LPs that most clearly sounds like a pipe organ (which was played live by both human and computer). The result is not quite as striking as its predecessor, but it’s hard to be upset with 32 more minutes of this particular good thing.

Ian Mathers

Love Child — Peel Session (12XU)

Peel Session by Love Child

Love Child’s Never Meant to Be is one of 2024’s best reissues, compiling both full-lengths, singles and radio appearances for these NYC-based purveyors of lo-fi post-punk. It’s a comprehensive survey of the band’s 1988-1993 run, but not exhaustive. This four-song EP adds two never-released songs to the catalog and reprises two from the main retrospective. All four come from a December 1992 Peel session that, sadly, never aired. They catch the band at a loosely slung, wildly energetic peak, months before they broke up for good.

The band, if you’re just checking in, featured Alan Licht on guitar, Rebecca Odes on bass and, by that point, Brendan O’Malley, who had replaced founder Will Baum on drums. Their version here of “Asking for It” is careening punk rock, with Rebecca Odes spattering the walls with indignant verses and Licht executing tight repeated squalls on guitar. If you think you’ve heard it before, you have. It was the lead-off track to Never Meant to Be. You might also be familiar with closer “Greedy,” with its seething guitar and candy-coated vocal (Odes again), and for the same reason. But two of these tracks are new to almost everyone, and they capture the band moving in a welcome but unfamiliar direction of droning psychedelia. “All Is Loneliness,” for instance, has approximately 0% of Love Child’s early brat-punk vibe, instead it flickers and builds and howls like an outtake from Bailter Space or, possibly, Bardo Pond. “Slow Me Down,” lurches forward on blasts of heavy metal guitar, tamping the riff down just enough to reveal the song’s indie post-rock heart. A guitar lick that reminds me, no kidding, of the Wrens, coincides with brutalist assault, and it might have been interesting to hear more of that if the band had stayed together a little longer. Oh well.

Jennifer Kelly

Mahti — Konsertti I (VHF)

Konsertti 1 by Mahti

Mahti is a Finnish instrumental quartet with ties to their compatriots Circle, but you wouldn’t know that by listening to them. There’s no heaviness and virtually no rock in their music. Electronic percussion percolates more than it propels, trading off the lead position with a clean-toned electric guitar like a couple of geese swapping a flock’s point position, and synths move volumes of sound like lassoed clouds. A fourth member plays kantele, a Finnish folk zither, but it tends to blend with the other instrumental voices rather than assert one of its own. The music was recorded live, but audience noise and room town are so absent that you might never know. To perky to be ambient, soothing but busy, this music feels familiarly krauty without ever adopting anyone else’s guise.

Bill Meyer

Mutated Void — Listen to the Struggle (Unlawful Assembly)

Listen To The Struggle by Mutated Void

Depending on your tolerance for feral, freaked-out skate punk, you might wish to paraphrase the title of this new tape from Mutated Void: Listening is the struggle. Others among us will be as happy with Listen to the Struggle as we have been with the Nova Scotia band’s previous output. Ugly, stoopid riffage; indifferently bashed percussive elements; harsh, hoarse croaks that have a vaguely humanoid quality — good times, galore. It’s the sound of several layers of skin being peeled off by sunbaked concrete; or maybe, given the Nova Scotia provenance of these noises, a rain-slicked quarter-pipe slowly falling to pieces. In any event, these tunes will scar you, or at least leave you with some nasty splinters. Cassette-closer “Zombie (Mecht Mensch)” is the main attraction. Like a moldy hunk of ambulatory undead flesh, the song really stinks, and it’s just wonderful.

Jonathan Shaw

Meshell Ndegeocello — No More Water: The Gospel of James Baldwin (Blue Note)

After records celebrating Nina Simone and Sun Ra, vocalist, bassist and songwriter Meshell Ndegeocello commemorates the centenary of author James Baldwin on No More Water. Staceyann Chin’s passionate readings and synthetically treated spoken word treated synthetically are interwoven with song structures. Vocalist Justin Hicks provides an often angst-laden delivery, and Josh Johnson adds saxophone and synths to the mix. Ndegeocello’s adroit bass-playing and low voice anchor the other disparate elements. The mood vacillates too, with elemental fury succeeded by exceeding tenderness. The album doesn’t reflect the music of Baldwin’s time, instead mixing R&B, funk, and electronica. This makes it no less potent an homage.

Christian Carey

Nidia & Valentina — Estradas (Latency)

Italian percussionist and multi-instrumentalist Valentina Magaletti and Afro-Portuguese beat-maker Nidia Borges combine forces to produce a set of rhythmic improvisations on their debut collaboration Estradas. Magaletti is best known as a member of London based dub trio Holy Tongue and here uses marimbas and found objects and synthesizers to complement Borges’ Angolan kuduro beats. Their music has the spatial feel of dub but concentrates on African polyrhythms and melodies. With elements of high life and gnawa thrown in, the duo concentrates on making you move as they explore their intersecting influences. The music itself is hugely enjoyable although at times find yourself wishing the songs were harder, faster, less polite. Minor quibbles about a collaboration that feels it has more to offer in the future.

Andrew Forell

Oliwood — Anatomy of Anarchy (Jazzwerkstatt)

Anatomy of Anarchy by Oliwood feat. Evans, Mahall, Landfermann

German drummer and composer Oliver Steidle is constantly searching for new means of musical expression. Each of his projects showcases a fierce resistance to standing still. Genres bleed together in joyous cacophony and each release boasts its own lineup of collaborators. Anatomy of Anarchy is tame in comparison to some of his other work, being firmly rooted in the jazz idiom. Yet it certainly moves quickly, drawing energy from a cadre of high-octane collaborators. Steidle works alongside experienced players from both sides of the Atlantic: trumpeter Peter Evans, clarinetist Rudi Mahall, and bassist Robert Ladfermann spar with him across this lengthy song cycle. Tracks such as “Freaks” and “Bling Bling Frogs” swing with a sense of unison among the team, while much of the other material strays far outside, exploring group improvisation territory. This crew are not afraid to wander, and Anatomy of Anarchy benefits from this adventurous approach.

Bryon Hayes

Ivo Perelman / Chad Fowler / Reggie Workman / Andrew Cyrille — Embracing the Unknown (Mahakala)

Embracing the Unknown by Ivo Perelman

There are plenty of prolific improvisers, but Brazil-born, NY-based tenor saxophonist has earned the right to have his face in the dictionary next to the word’s definition. Embracing the Unknown is one of eight albums released in 2024, each made with a different line-up. The quartet that made Embracing the Unknown is the largest, and it includes some heavy company — Mahakala proprietor Chad Fowler on stritch and saxello (a straight alto and curved soprano saxophone, respectively), and octogenarians Reggie Workman and Andrew Cyrille on bass and drums. Each has a hand in forming the music’s character. Fowler brings a bag of blues everywhere he goes, and while Perelman favors more abstract pathos, the music’s sentiments are darkly shaded; Workman contributes both propulsion and harmonic dimension; Cyrille’s short bursts of sound give the music a floating quality, articulating its progress without tethering to metrical time.

Bill Meyer

Laurence Pike — The Undreamt-of Centre (The Leaf Label)

Drummer Laurence Pike has been a name to watch for nearly two decades now, first in experimental jazz group Triosk, then in explosive synth-rock band PVT with his brother Richard, and more recently backing Angus Andrew in the latest iteration of Liars and as one-third of the drums, synth and sax trio Szun Waves. The Undreamt-of Centre is Pike’s fourth solo album, which arrives with an intriguing premise: what would a requiem sound like constructed out of drums, electronics, and choral voices? The results are often deeply arresting and affecting, especially the opening two pieces, “Introit” and “Orpheus in the Underworld,” in which the wordless vocal tones and swells of rhythm seem to carry an easily digestible internal narrative. The balance between the voices and drums seems to be key to the varying success of the pieces. The cantering beats of “Mountains of the Heart” don’t leave much space for the voices to steer the music, and the queasy ululations of “Universal Forces” are crying out to be ushered into form by the sparse, pattering drums. Thankfully the album’s longest piece, “Requiem Aeternam,” brings a sense of resolution with its sustained ambient tones, driving synth arpeggios, and washes of cymbals and toms.

Tim Clarke

Saccata Quartet — Septendecim (We Jazz)

Septendecim by Saccata Quartet

There’s an observable phenomenon in which the outernaut members of revered legacy rock acts will let their freak flag fly and get substantial audiences of folks wanting the parent band to show up and play a secret gig. Saccata Quartet (Nels Cline, guitar; Darin Gray, double bass; Chris Corsano and Glenn Kotche, drums) is just the sort of ensemble that could lure a Wilco fan out and then drive them back to the bar, grumbling and disappointed; Septendecim was even recorded at The Loft. Improv heads might come with their own set of expectations; this writer has distant memories of a multi-drummer concert at Chicago’s Hideout that involved Corsano trying to curl up inside a bass drum, and Gray and Corsano have played plenty of volcanic free jazz in the company of Mars Williams and Akira Sakata. But if you put aside expectations and put up your active-listening antennae, something else takes form here that is very good on its own terms. The quartet eschews rock gestures and gonzo energy that diffuses individual identities in favor of a more texturally derived intensity that is generally pretty quiet... until it’s not.

Bill Meyer

Shredded Sun — Wilding (Self-Released)

Wilding by Shredded Sun

Shredded Sun has been at it for a while now, first in the jangle-punk Fake Fictions and now four albums into their current iteration. A lifer vibe of the best sort, then, hovers over these punchy, vulnerable, pop-punk songs. They sound like reticent, literate Yo La Tengo crashing into the Pixies at a four-way stop. When bass player Sarah Ammerman sings, as on caroming “Shake the Clouds,” a warbly, Muffs-style enthusiasm bubbles over. When Nick Ammerman, the guitarist, takes over, a tremulous Feelies-into-Jonathan-Richman aura creeps in. The music pummels and jangles and struts no matter who’s in front, with excellent, energetic drumming from third member Ben Bilow. It’s excellent stuff, creative but crafted with care, occasionally humorous (see final track, “Another Song Called Mirror Ball,” but never silly. It’s what might happen if you just keep doing what you do regardless of whether anyone’s paying attention — you keep getting better and more yourself.

Jennifer Kelly

Luís Vicente Trio — Come Down Here (Clean Feed)

Come Down Here by Luís Vicente Trio

Back at its dawn, free jazz was supposed to change the world. The first changes were mainly technical — can we please untie this chordal straitjacket? — but it was soon aligned in the minds of both audience and practitioner with a broader array of personal and societal liberties. Half a century on, the music endures because in part because it gives musicians the freedom to interact in ways that are uniquely joyous and thrilling. Luís Vicente Trio taps into such opportunities. The themes that trumpeter Vicente brings are skeletal, but just enough to invite a collective act creation that pulses with momentum, expands and contracts like living architecture, and sings with palpable toughness and vulnerability. Sure, you can connect some of this music back to the music of Don Cherry and the Art Ensemble of Chicago on account of its expressive qualities. But within that formal framework, deeply personal shapes and interactions bloom like desert flowers, as vivid as they are time limited.

Bill Meyer

Woody Yang — apple red/dots (Mt. Hazey Records)

apple red//dots by woody yang

Woody Yang delivers a short but solid set of acoustic guitar originals in the Takoma school tradition. Switching between 12- and six-string, he doesn’t break any new ground, but there’s no reason he has to, and his take on the tradition is compelling. Yang certainly knows how to build these kinds of compositions. One of the tracks features his reedy vocals, and another features bongo accompaniment by the audio engineer, but the focus is on Yang’s deft fingerpicking. An auspicious debut.

Jim Marks

[dustedmagazine]

Rainy Miller — Joseph, What Have You Done (Fixed Abode)

An atmosphere of nowhere towns in dank post-industrial landscapes scarred by decay, cut through by motorways to elsewhere informs Lancashire born Rainy Miller’s new album. On Joseph, What Have You Done? he identifies an inheritance of class and generational conflict as a crucible of  personal trauma in a genre-fluid style which he labels “Northern Gothic.”  A portrait of place, position and self, Miller uses abstract ambience, acoustic balladry, bursts of noise and spoken word interludes to confront what holds one down and who holds one back.

He starts with systems. “Mud in my Mouth (Predetermined Definitions)” uses interment as a metaphor a class system maintained through the internalization of imposed position “Dragged from the cot in which we laid/To the hill/To watch them dig our graves/One foot on the neck/And one foot on the spade” Through the switches in style and mood, Miller maintains and elaborates his themes as he digs deeper into the personal costs of that legacy and draws back to make connections with family, community and nation. The direct confessional approach and stylistic leaps may be jarring for some but Miller’s recurring imagery — of dank atmospheres, wounded souls, miscommunication and mental health problems — tie the album together. Jazz drummer Jonathan Ludvigsen, Hi-Vis singer Graham Sayle and composer August Rosenbaum make key contributions. The first with a purging solo on “An Obsidian Lake Spews out of Me,” the latter two to the dark grind of “Vengeance.”  On the title track over undulating electronics and strings, Manchester artist Christopher Bryan offers a sermon on young and old dreams:  “Lancashire, Land of Piss and Vinegar Towns/Our mothers named us and they named us murder/There, they say to the young/I’ve had it up to here/The palm pressed flat against the neck or the head/Don’t ask us to look to the sky for solace/The answers fall in rain again/Soft wet bullets met screw faced forcing us downwards almost in prayer to the solid ground”

In the video for their 1991 single “It’s Grim Up North,” The Justified Ancients of Mu Mu (AKA KLF)  perform in pouring rain, illuminated by the headlights of passing vehicles. Over a thumping industrial beat Bill Drummond recites a list of Northern towns, interspersed with the title refrain. As the beat drops, the strains of “Jerusalem” swell and Mark E Smith’s words “The North Will Rise Again” roll. Musically it never left but Rainy Miller goes beyond dots on the map to bring us a nuanced expression of the pain and resilience of the communities those dots represent.

Andrew Forell

[dustedmagazine]

Listening Post: Kim Gordon

Kim Gordon has long been one of rock’s female icons, one of a tiny handful of women to get much play in Michael Azzerad’s underground-defining Our Band Could Be Your Life and a mainstay in the noise-rock monolith Sonic Youth. It’s hard to imagine that quintessential dude rock band without Gordon in front, dwarfed by her bass or spitting tranced out, pissed off verses over the storm of feedback.

Yet Gordon’s trajectory has been, if anything, even more fascinating since Sonic Youth’s demise in 2011. A visual artist first — she studied art at the Otis College of Art and Design before joining the band — she continues to paint and sculpt and create. She’s had solo art shows at established galleries in London and New York, most recently at the 303 Gallery in New York City. A veteran of indie films including Gus van Zant’s Last Days and Todd Haynes I’m Not There, she has also continued to act sporadically, appearing in the HBO series Girls and on an episode of Portlandia. Her memoir, Girl in a Band, came out in 2015.

But Gordon has remained surprisingly entrenched in indie music over the last decade. Many critics, including a few at Dusted, consider her Body Head, collaboration with Bill Nace the best of the post-Sonic Youth musical projects. The ensemble has now produced two EPs and three full-lengths. Gordon has also released two solo albums, which push her iconic voice into noisier, more hip hop influenced directions. We’re centering this listening post around The Collective, Gordon’s second and more recent solo effort, which comes out on Matador on March 8th, but we’ll likely also be talking about her other projects as well.

Intro by Jennifer Kelly

Jennifer Kelly: I missed No Home in 2019, so I was somewhat surprised by The Collective’s abrasive, beat-driven sound though I guess you could make connections to Sonic Youth’s Cypress Hill collaboration?

The more I listen to it, though, the more it makes sense to me. I’ve always liked the way Gordon plays with gender stereotypes, and “I’m a Man” certainly follows that trajectory. What are you guys hearing in The Collective?

Jonathan Shaw: I have only listened through the entire record once, but I am also struck by its intensities. Sort of silly to be surprised by that, given so many of the places she has taken us in the past: noisy, dangerous, dark. But there's an undercurrent of violence to these sounds that couples onto the more confrontational invocations and dramatizations of sex. It's a strong set of gestures. I like the record quite a bit.

Bill Meyer: I'm one of those who hold Body/Head to be the best effort of the post-Sonic Youth projects, but I'll also say that it's very much a band that creates a context for Gordon to do something great, not a solo effort. I was not so taken with No Home, which I played halfway through once upon its release and did not return to until we agreed to have this discussion. I've played both albums through once now, and my first impression is that No Home feels scattered in a classic post-band-breakup project fashion — “let's do a bit of this and that and see what sticks.” The Collective feels much more cohesive sonically, in a purposeful, “I'm going to do THIS” kind of way.

Jonathan Shaw: RE Jennifer's comment about “I'm a Man”: Agreed. The sonics are very noise-adjacent, reminding me of what the Body has been up to lately, or deeper underground acts like 8 Hour Animal or Kontravoid's less dancy stuff. Those acts skew masculine (though the Body has taken pains recently to problematize the semiotics of those photos of them with lots of guns and big dogs...). Gordon's voice and lyrics make things so much more explicit without ever tipping over into the didactic. And somehow her energy is in tune with the abrasive textures of the music, but still activates an ironic distance from it. In the next song, “Trophies,” I love it when she asks, “Will you go bowling with me?” The sexed-up antics that follow are simultaneously compelling and sort of funny. Rarely has bowling felt so eroticized.

Jennifer Kelly: I got interested in the beats and did a YouTube dive on some of the other music that Justin Raisen has been involved with. He's in an interesting place, working for hip hop artists (Lil Yachty, Drake), pop stars (Charli XCX) and punk or at least punk adjacent artists (Yeah Yeah Yeahs, Viagra Boys), but nothing I've found is as raw and walloping as these cuts.

“The Candy House” is apparently inspired by Jennifer Egan's The Candy House, which is about a technology that enables people to share memories... Gordon is pretty interested in phones and communications tech and how that's changing art and human interaction.

Andrew Forell: My immediate reaction to the beats was oh, The Bug and JK Flesh, in particular the MachineEPs by the former and Sewer Bait by the latter. Unsurprisingly, as Jonathan says, she sounds right at home within that kind of dirty noise but is never subsumed by it

Jennifer Kelly: I don't have a deep reference pool in electronics, but it reminded me of Shackleton and some of the first wave dub steppers. Also, a certain kind of late 1990s/early aughts underground hip hop like Cannibal Ox and Dalek.

Bryon Hayes: Yeah, I hear some Dalek in there, too. Also, the first Death Grips mixtape, Ex-Military.

It's funny, I saw the track title “I'm a Man,” and my mind immediately went to Bo Diddley for some reason, I should have known that Kim would flip the script, and do it in such a humorous way. I love how she sends up both the macho country-lovin’ bros and the sensitive metrosexual guys. It's brilliant!

This has me thinking about “Kool Thing”, and how Chuck D acts as the ‘hype man’ to Kim Gordon in that song. I'm pretty sure that was unusual for hip hop at the time. Kim's got a long history of messing with gender stereotypes.

Bill Meyer: Gordon did a couple videos for this record, and she starred her daughter Coco in both of them. The one for “I'm A Man” teases out elements of gender fluidity, how that might be expressed through clothing, and different kinds of watching. I found the video for “Bye Bye” more interesting. All the merchandise that's listed in the video turns out to be a survival kit, one that I imagine that Gordon would know that she has to have to get by. The protagonist of the video doesn't know that, and their unspoken moment in a car before Coco runs again was poignant in a way that I don't associate with her work. And of messing with hip hop!

Tim Clarke: “Bye Bye” feels like a companion to The Fall’s “Dr Buck’s Letter.”

Bill Meyer: From The Unutterable? I'll have to a-b them.

Tim Clarke: That’s the one.

Jonathan Shaw: All of these comments make me think of the record’s title, and the repeated line in “The Candy House”: “I want to join the collective.” Which one? The phone on the record’s cover nods toward our various digital collectives — spaces for communication and expression, and spaces for commerce, all of which seem to be harder and harder to tell apart. A candy house, indeed. Why is it pink? Does she have a feminine collective in mind? A feminine collective unconscious? The various voices and lyric modes on the record suggest that's a possibility. For certain women, and for certain men working hard to understand women, Gordon has been a key member of that collective for decades.

Jennifer Kelly: The title is also the title of a painting from her last show in New York.

The holes are cell phone sized.

You can read about the show here, but here's a representative quote: “The iPhone promises freedom, and control over communication,” she says. “It’s an outlet of self-expression, and an escape and a distraction from the bigger picture of what’s going on in the world. It’s also useful for making paintings.”

Gordon is a woman, and a woman over 70 at that — by any measure an underrepresented perspective in popular culture. However, I’d caution against reading The Collective solely as a feminist statement. “I'm a Man,” for instance, is told from the perspective of an incel male, an act of storytelling and empathy not propaganda. My sense is that Gordon is pretty sick of being asked, “What's it like to be a girl in a band?” (per “Sacred Trickster”) and would like, maybe, to be considered as an artist.

It's partly a generational thing. I'm a little younger than she is, but we both grew up in the patriarchy and mostly encountered gender as an external restriction.

As an aside, one of my proudest moments was when Lucas Jensen interviewed me about what it was like to be a freelance music writer, anonymously, and Robert Christgau wrote an elaborate critique of the piece that absolutely assumed I was a guy. If you're not on a date or getting married or booking reproductive care, whose business is it what gender you are?

There, that's a can of worms, isn't it?

Jonathan Shaw: Feminine isn't feminist. I haven't listened nearly closely enough to the record to hazard an opinion about that. More important, it seems to me the masculine must be in the feminine unconsciousness, and the other way around, too. Precisely because femininity has been used as a political weapon, it needs imagining in artistic spaces. Guess I also think those terms more discursively than otherwise: there are male authors who have demonstrated enormous facility with representing femininity. James, Joyce, Kleist, and so on. Gordon has always spoken and sung in ways that transcend a second-wave sort of feminine essence. “Shaking Hell,” “PCH,” the way she sings “I Wanna Be Your Dog.”

Jennifer Kelly: Sure, she has always been shape-shifter artistically.

The lyrics are super interesting, but almost obliterated by noise. I’m seeing a connection to our hyperconnected digital society where everything is said but it’s hard to listen and focus.

Bill Meyer: Concrete guy that I am, I’ve found myself wishing I had a lyric sheet even though her voice is typically the loudest instrument in the mix.

Andrew Forell: Yes, that sense of being subsumed in the white noise of (dis)information and opinion feels like the utopian ideal of democratizing access has become a cause and conduit of alienation in which the notion of authentic voices has been rendered moot. It feels integral to the album as a metaphor

Christian Carey: How much of the blurring of vocals (good lyrics — mind you) might involve Kim’s personal biography, I wonder? From her memoirs, we know how much she wished for a deflection of a number of things, most having to do with Thurston and the disbandment of SY.

Thurston was interviewed recently and said that he felt SY would regroup and be able to be professional about things. He remarked that it better be soon: SY at eighty wouldn’t be a good look!

Andrew Forell: And therein lies something essential about why that could never happen

Ian Mathers: I know I’m far in the minority here (and elsewhere) because I’ve just never found Sonic Youth that compelling, despite several attempts over the years to give them another chance. And for specifically finding Thurston Moore to be an annoying vocal presence (long before I knew anything about his personal life, for what it's worth). So, I’m in no hurry to see them reunite, although I do think it would be both funny and good if everyone except Moore got back together.

Having not kept up with Gordon much post-SY beyond reading and enjoying her book, I wasn’t sure what to expect from this record. After a couple of listens, I’m almost surprised how much I like it. Even though I’m lukewarm on SY’s music, she’s always been a commanding vocal presence and lyricist and that hasn’t changed here (I can echo all the praise for “I’m a Man,” and also “I was supposed to save you/but you got a job” is so bathetically funny) and I like the noisier, thornier backing she has here. I also think the parts where the record gets a bit more sparse (“Shelf Warmer”) or diffuse (“Psychic Orgasm”) still work. I've enjoyed seeing all the comparisons here, none of which I thought of myself and all of which makes sense to me. But the record that popped into my head as I listened was Dead Rider’s Chills on Glass. Similar beat focus, “thick”/distorted/noisy/smeared production, declamatory vocals. I like that record a lot, so it's not too surprising I'm digging this one.

Jennifer Kelly: I loved Sonic Youth but have zero appetite for the kind of nostalgia trip, just the hits reunion tour that getting back together would entail.

Jonathan Shaw: Yeah, no thanks to that.

RE Christian's comment: Not sure I see deflection so much as the impossibility of integration. We are all many, many selves, always have been. Digital communications interfaces and social media have just lifted it to another level of experience. Gordon sez, “I don't miss my mind.” Not so much a question of missing it in the emotional/longing sense, more so acknowledging that phrases like “my mind” have always been meaningless. Now we partition experience and identity into all of these different places, and we sign those pieces of ourselves over, to Zuck and the algorithms. We know it. We do it anyways, because it's the candy house, full of sweets and pleasures that aren't so good for us, but are really hard to resist. “Come on, sweets, take my hand...”

Bill Meyer: I would not mind hearing all of those SY songs I like again, can’t lie, although I don’t think that I’d spend Love Earth Tour prices to hear them. But given the water that has passed under the bridge personally, and the length of time since anyone in the band has collaborated creatively (as opposed to managing the ongoing business of Sonic Youth, which seems to be going pretty well), a SY reunion could only be a professionally presented piece of entertainment made by people who have agreed to put aside their personal differences and pause their artistic advancement in order to make some coin. There may be good reasons to prioritize finances. Maybe Thurston and/or Kim wants to make sure that they don’t show up on Coco’s front door, demanding to move their record or art collection into her basement, in their dotage. And Lee’s a man in his late 60s with progeny who are of an age to likely have substantial student loan debt. But The Community is just the kind of thing they’d have to pause. It feels like the work of someone who is still curious, questioning, commenting. It's not just trying to do the right commercial thing.

Justin Cober-Lake: I’m finding this one to be a sort of statement album. I’d stop short of calling it a concept album, but there seems to be a thematic center. I think a key element of the album is the way that it looks for... if not signal and noise, at least a sense of order and comprehensibility in a chaotic world. Gordon isn’t even passing judgment on the world — phones are bad, phones are good, phones make art, etc. But there’s a sense that our world is increasingly brutal, and we hear that not just in the guitars, but in the beats, and the production. “BYE BYE” really introduces the concept. Gordon’s leaving (and we can imagine this is autobiographical), but she’s organizing everything she needs for a new life. “Cigarettes for Keller” is a heartbreaking line, but she moves on, everything that makes up a life neatly ordered next to each other, iBook and medications in the same line. It reminds me of a Hemingway character locking into the moment to find some semblance of control in the chaos.

Getting back to gender, there’s a funny line at the end: one of the last things she packs is a vibrator. I'm not sure if we're to read this as a joke, a comment on the necessity of sexuality in a life full of transitory moments, as a foreshadowing of the concepts we’ve discussed, or something else. The next item (if it’s something different) is a teaser, which could be a hair care product or something sexual (playing off — or with — the vibrator). Everything's called into question: the seriousness of the track, the gender/sexuality ideas, what really matters in life. Modern gadgets, life-sustaining medicines, and sex toys all get equal rank. That tension really adds force to the song.

Coming out of “BYE BYE,” it's easy to see a disordered world that sounds extremely noisy, but still has elements we can comprehend within the noise. I don’t want to read the album reductively and I don't think it's all about this idea, but it's something that, early on in my listening, I find to be a compelling aspect of it.

[dustedmagazine]

Austin Rockman/The Surrealist — Seek No End (self-released)

Titles like “Decayer” and “Evaporate Everything” suggest that crepuscular claustrophobia will dominate the atmosphere of this collaboration between Brooklyn composers Austin Rockman and Roopam Garg AKA The Surrealist.  However, those elements serve as a starting point rather than destination. As the pair progresses through “Seek No End,” they develop radiance rather than erasure. Based on layers of treated guitars and electronic effects, the duo imagines an ambient music free of genre boundaries and strictures. From the minimal pulsations of “Becoming Unaware,” the music builds incrementally,  as if the pair are collecting thoughts or marshalling energy for next steps. Between periods of relative stasis, new layers form and billow concentrically. Above all Seek No End is a work that creates space in which the subtle gestures develop significance through repetition and relation. While the music feels close, as a listener you’re aware of the expanse in which it exists.

Pattering rhythms introduce “Perfect Dark” which proceeds in the manner of sleep disturbed unrest, yet the undertones of bass drone are the comforting counterpoint reassuring that you’ll wake again tomorrow. Or not, as clanking percussion effects worry you away from peace. The background swoosh of denatured rave synths demand attention in “Evader.” They set the scene for swooning pads that introduce “Call Out to Nothing” during which even the rusty background static can disrupt the stirring impact of ascending ship-sway Church organ chords. When the guitars becoming recognizable on “Evaporate Everything,” it’s almost jarring in effect. The scratched notes flicker from the gloom like guttering candles, before smudging into black. The duo reaches their peak on “Sun Sleeper.” A voiceless choir reverent in light and sound, the faintest echo of mechanical static, it builds towards a crescendo that ever quite comes, opening the music fully into the cosmos.

You can hear the influence of Fennesz and Pan American on Seek No End and like Rockman’s 2022 solo album Our Own Unknown there’s a spirit of direct generosity here. The progress to the peak is harder, more fraught but Rockman and The Surrealist are perceptive guides who seem to imagine and follow paths that others overlook.

Andrew Forell