#aram shelton

[dustedmagazine]

Larry Ochs / Aram Shelton Quartet — Continental Drift (Clean Feed)

CONTINENTAL DRIFT (2020) by LARRY OCHS - ARAM SHELTON QUARTET

Tenor / sopranino saxophonist Larry Ochs has been playing jazz, free improvisation and whatever you choose to call all the many things that the ROVA Saxophone Quartet plays since the 1970s, which is when alto saxophonist Aram Shelton was born. While improvisation is an integral element of his practice, it often arises from rigorously composed frameworks. Before moving to Ochs’ neck of the woods in 2005, Shelton was part of the robust Chicago scene, where his project included playing tune-oriented music indebted to Ornette Coleman’s conception of free jazz in the trio Dragons 1976 and electro-acoustic improvisation in the excellent duo, Grey Ghost. Shelton also contributed to Fast Citizens, a collective that included Keefe Jackson, Fred Lonberg-Holm and Frank Rosaly, and contributed appositely to his peers’ various projects. While they varied in kind and character, they shared a collegial egalitarianism particular to the Chicago community.

Both saxophonists contribute compositions to the Larry Ochs / Aram Shelton Quartet. The group’s other members don’t, but they’re both veterans whose acumen contributes to this CD’s success. Mark Dresser is a virtuoso bassist, and drummer Kjell Nordeson was part of the Scandinavian contingent whose frequent visits shook things up in Chicago just before Shelton got there. While both are inspiring improvisers, they also appreciate the discipline of giving a composition or arrangement what it needs. They’re equally at home realizing the fleet, swinging groove of Shelton’s “Switch” or the carefully orchestrated shifts between staggering and charging rhythmic attacks on Ochs’ “Slat.” Their accompaniment often commands attention by pushing against a tune’s grain in ways that makes you notice and appreciate whatever they’re pushing against. 

But if their contributions contribute immeasurably to the music’s success, they also figure in its scarcity. Both  Dresser and Nordeson are educators as well as working musicians, They teach in San Diego. Most of Continental Drift was recorded in 2013, but after Ochs concluded that album’s final piece, “The Others Dream,” needed re-recording, it proved nigh on impossible to get everyone back into the studio for another go before Shelton left town for Europe in 2016. So that and the title track were finally recorded in 2018 when he came back for a brief visit, with Scott Walton on bass. 

Whatever Ochs found wrong with the original version of “The Others Dream,” the reconstituted quartet certainly got things right in the end. The piece is nearly 20 minutes long, and it doesn’t spend much time revisiting known territory, but the quartet never loses track of its pace or the solemnity that rests at the foundation of each player’s impassioned solo turns. While Walton does yeoman’s work by maintaining the music’s center of gravity, Nordeson is marvelous, simultaneously stoking and commenting upon the saxophonists’ elongated orations. If geography, politics or the pandemic keep the quartet from reuniting, this disc shows exactly why it needed to be together in the first place. 

Bill Meyer

[jazzzzaj]

070220 JazzaJ / Diffraction (US/H): Cox Cremaschi Shelton Miklós

DIFFRACTION: Krisztofer Cox - pozan, trombita (piccolo), fafurulyák, zurna George Cremaschi - nagybőgő, elektronika Aram Shelton - szaxofon Miklós Szilveszter - dobok „Amikor belátjuk, hogy a Föld többé már sosem lesz olyan, amilyennek ismerjük – az felszabadító érzés is lehet. Ugyanakkor elfog bennünket egy egzisztenciális rettegés. Olyan zenei nyelvet keresünk, amely úgy képes ötvözni ezt a két állapotot, hogy ezáltal megtestesíti azt, ami a „jazz” valójában: a lázadást a modern civilizáció narratíváival szemben.” – K. Cox belépő: 2000.- _________________________________________________________ DIFFRACTION: Krisztofer Cox - trombone, pocket trumpet, wooden flutes, zurna George Cremaschi - double bass, electronics Aram Shelton - saxophone Miklós Szilveszter - drums „When we learn that there is no turning back, that the Earth as we know it will never be the same, a kind of freedom arises, a composting of ideas happens. Also, there is an existential dread. We will seek to play music that accompanies and interwines both of those emotions, and in doing so, will embody what the meaning of „jazz” really is: to rebel against the master narratives of modern civilization.” – K. Cox Krisztofer Cox: A trombone player who has always defied easy categorization, but has always identified as a jazz musician, even though he would rather die than play another rendition of ’All the Things you Are’. He’s played with an exhaustingly diverse array of musicians spanning creative improvised music, blues, swing and even hip-hop. During his formative years, he was an active participant in the San Francisco Bay Area creative music scene, including performances with internationally known stalwarts like Glenn Spearman, Marco Eneidi, Michael Ray and Cecil Taylor. Ha has accompanied the Merce Cunningham Dance Company and poets Amiri Baraka, E.G. Bailey and J. Otis Powell. Now he lives full-time in Budapest. This project marks his return to the world of creative improvised music after a long absence. George Cremaschi: Cremaschi works with a variety of approaches and strategies in the areas overlapping music, sound art and noise. In thirty years as a composer and performer ha has a long and diverse history of working with musicians, filmmakers, dancers and choreographers, visual artists and writers. As an improviser he has worked with many people including Liz Allbee, Mats Gustafsson, Marshall Allen, Han Bennink, Greg Goodman, Joelle Leandre, Thomas Lehn, Paul Lovens, Louis Moholo, Butch Morris, Evan Parker, the Rova Quartet and Cecil Taylor. entry: 2000.-

[matwalerian]

AllAboutJazz - magazine and website for jazz enthusiasts and industry professionals - One Man's Jazz by Maurice Hogue - Okuden | Walerian Shipp Parker Drake presentation.

"I admit to being a little breathless after listening to this very impressive album... One listen and I definitely wanted to hear more... Those names are enough to conjure up ideas of powerful music"

"He has been recording for Esp Disk since 2015 and receiving great reception for his albums and diversity where his trio with Shipp and Hamid Drake has been highly recommended in several publications."

So much amazing music this episode! ... How to describe the Mat Walerian Okuden Quartet with the multi-reedist leading Matthew Shipp, William Parker and Hamid Drake. Those names are enough to conjure up ideas of powerful music.

One listen and I definitely wanted to hear more... Mat Walerian ... I think a lot of his time was spent in New York, an incubator for creative jazz.

He is primarly self-taught musician but has taken lessons from Matthew Shipp which Walerian says were key in his development. He has also spent much time studying eastern philosophy and japanese culture and you can hear that in his music. He has been recording for Esp Disk since 2015 and receiving great reception for his albums and diversity where his trio with Shipp and Hamid Drake has been highly recommended in several publications. Walerian is also the artistic director of the Okuden music series.

For his latest effort on ESP disk he has expanded his trio to a quartet with the addition of great bassist William Parker ... he is in fantastic form on Walerians new "Every Dog Has Its Day But It Doesn't Matter Because Fat Cat Is Getting Fatter".

I admit to being a little breathless after listening to this very impressive album. To give you a solid taste of Mat Walerian and his Okuden quartet here are 2 tunes : "Thelonious Forever" followed by "Business With William".

Listen to full episode of One Man's Jazz here :

https://www.allaboutjazz.com/mat-walerian-larry-ochs-aram-shelton-and-alister-spence-billy-mohler

[noloveforned]

no love for ned on wlur – september 2nd, 2020 from 4-6pm

artist // track // album // label adia victoria // south gotta change // south gotta change digital single // atlantic the minders // you call to me // psychedelic blacktop // space cassette color green // newspaper headline // color green ep // maximum exposure jeff london // sea of embarrassment // trouble trust // jealous butcher kathleen edwards // glenfern // total freedom // dualtone * fruit bats // lives of crime // found a round stone- live in portland // merge old 97's // turn off the tv // twelfth // ato * neurotic fiction // assimilate // romance 7" ep // specialist subject stiff richards // ostentatious // dig // legless the floaties // square eyes // now in colour 7" ep // weather vane warehouse // arbitrarium v // super low // bayonet primitive parts // open heads // open heads 7" // sexbeat reverends // divisadero // the disappearing dreams of yesterday // little cloud mikal cronin // can't hardly wait // lagniappe sessions, volume two compilation // org music laraaji // shenandoah // sun piano // all saints bob dylan // i contain multitudes // rough and rowdy ways // columbia beverly glenn-copeland // no other // live at le guess who? // transgressive christian rønn and aram shelton // riley // multiring cassette // astral spirits nubya garcia // together is a beautiful place to be // source // concord jazz * s.o.l.a.r. // living for the most high // faith for my mind // superfly busty and the bass featuring amber navran // clouds // eddie // arts and crafts * marlowe // small business // marlowe two // mello music group bent arcana // sprites // bent arcana // castle face * aquiles navarro and tcheser holmes // pueblo // heritage of the invisible ii // international anthem jon mckiel // mourning dove // bobby joe hope // you've changed aoife nessa frances // geranium // land of no junction // ba da bing! boosegumps // heart shaped // five demos cassette // lost sound tapes boys age // a boat is out of sight // epstein orkestar cassette // grabbing clouds burner herzog // lucky star // big love // paisley shirt music on hold // a charming race // return of cassette // gone with the weed fleur // mon ami martien // mon ami martien 7" // bickerton

* denotes music on wlur’s playlist

[podilatokafe]

awesome jazz: Aram Shelton, Grzegorz Tarwid, Tomo Jacobson, Håkon Berre – Hopes and Fears (2017) Πηγή: awesome jazz: Aram Shelton, Grzegorz Tarwid, Tomo Jacobson, Håkon Berre - Hopes and Fears (2017)

[catsynth-express]

Y’reka and Pamela Z, Luggage Store Create Music Series

Today we look back at a show featuring music by Pamela Z and the duo Y’reka at the Luggage Store Gallery Creative Music Series, which was still at its temporary home at 998 Market Street.

The evening opened with Y’reka, a duo featuring Aram Shelton on alto saxophone and Owen Stewart-Robinson on guitar. Both Shelton and Stewart-Robinson also had an array of electronic effects.

Their improvised music had a subtle noisy texture overall, with slowly changing timbres and dynamics. There were some moments were the effects triggered more dramatic changes, which especially stood out with the subtle texture. They also successfully combined their electronically-processed tones in sections such that it wasn’t clear who was playing what, a characteristic I often find fun in freely improvised music. The pair did acknowledge the death of Ornette Coleman the previous morning, a gesture that was both appropriate and appreciated by the audience.

Next up was Pamela Z who presented a variety of works for voice, sound electronics and video. This was in part of “preview” of her upcoming full-scale work Memory Trace which will be happening at the Royce Gallery. In addition to her versatile and virtuosic vocal techniques, she controlled a variety of audio processing via sensors both worn and placed in DIY electronic boxes in front of her. There were also several pieces featuring interactive video. One which I had seen before presented an array of real-time clips of Pamela Z from her laptop’s webcam during the performance, which she then appeared to call up as if they were individual percussion instruments.

There was also an intriguing video featuring a clock and other imagery related to time.

\

Overall, it was quite an interesting pairing of musical sets, and I was happy to be able to see both of them together in one evening.

Y’reka and Pamela Z, Luggage Store Create Music Series was originally published on CatSynth

[asianamsmakingmusic]

Listen/purchase: The Sound is the Melody by Kanoko Nishi Aram Shelton

[dustedmagazine]

Dust, Volume 4, Number 8

Sad Baxter

For the latest installment in our often-monthly roundup of shorter reviews, we've got an elusively rare CDR, a brief discussion of "Mallcore," the merging of Arabic tones with a free jazz style of performance, and some lovely, understated Aussie songwriting. Contributors include Bill Meyer, Jonathan Shaw, Jennifer Kelly, and Justin Cober-Lake

Anne-James Chaton/Andy Moor —Tout Ce Que Je Sais (Unsounds)

Tout Ce Que Je Sais (All That I Know) is the fourth cohesive recording project by vocalist Anne-James Chaton and guitarist Andy Moor, and the second under their Heretics project. Sonically, it comes full circle to the strengths of their marvelous debut, Le Journaliste. Stripped back to what the two men can do live, certain strengths come to the fore. Moor’s guitar playing, an amalgam of chugging riffs, melodic permutations and those emotion-overloading near-explosions that have been his gift to the Ex for decades, is simply fantastic. You could just listen him do his stuff and the only thing you’d be missing is the way he shadows, underlines and propels the stark unfuckwithable authority of Chaton’s delivery. The Frenchman sounds undeniable reading the contents of his wallet, but the contents here — Francophone texts borrowed from or written about heretical figures that have endorsed the idea of undoing something — can’t help but add gravity to the music. Simultaneously freewheeling and unmovable, no matter what you’ve been listening to lately, this is one record that you really ought to know.

Bill Meyer

Neon Tiger—Accessorize (Bogus Collective)

Accessorize by Neon Tiger

Mallcore is a thing, it seems, so much so that multiple, competing subgenres lay claim to the label. One doesn’t know whether to laugh or weep. Neon Tiger’s recent EP sure doesn’t clarify anything. A few of the tracks scan as celebratory invocations of the climate-controlled corporate space of the late-twentieth century shopping mall, and the various consumer pleasures to be had therein. A few tunes feature weirdly distorted baritone vocals (including “Waiting in Line,” which turns out to be a couple sections of Tina Turner’s “What’s Love Got to Do with It?” chopped up and slowed down a cycle or three; perversely, it’s compelling listening). The distortion misshapes the vocals discomfitingly enough to suggest a measure of critical distance from all the logos and fluorescent lighting and foodcourt linoleum. But it’s hard to say for sure what attitude Neon Tiger takes toward its subject matter. In that way, the EP is a perfect postmodern object—mystifying surfaces, ambivalent values, with only the commodity form as a legible presence.

Jonathan Shaw

Luke Stewart—Works for Upright Bass and Amplifier (Astral Spirits)

Works for Upright Bass and Amplifier by Luke Stewart

There was a time when you had an excuse to not know who Luke Stewart was if you were not hip to Washington, DC’s jazz scene. Given his membership in the fiery improvising-for-justice quintet Irreversible Entanglements, that time is coming to an end. But that’s only one rock on a veritable heap of live-performance and community-building work that dwarfs his still-slender discography (debut efforts by Heart of the Ghost, Heroes are Gang Leaders, Mean Crow, Trio OOO). To that you can add the 31-year-old bassist’s solo cassette. Rather typically, his voice on his instrument is strong, but it does not speak alone. First comes a burrowing feedback tone, which morphs and recurs throughout the nearly half-hour long first piece as if to say that even when you’re alone, you’re not alone. Sometimes Stewart uses that continuous presence as a springboard for knotted, bursting figures; others he lets the amplification add a red, ragged glow to sprinting pizzicato forays. Turns out that the upright bass and amplifier make good company when Stewart’s giving out the working orders.

Bill Meyer

Leo Mullins—Being Here Is Everything (Self-Released)

Being Here is Everything by Leo Mullins

Leo Mullins, an Australian songwriter also affiliated with the Small Knives, makes a low-key but excellent folk-tinged full-length here, with shimmering spiderwebs of acoustic picking and soft shadowy melodies. “Weight of the World,” with its quietly gorgeous harmonies, is maybe the pick of the litter; it is melancholic and uplifting at once, and the guitar cuts through shifting vocal textures with a clean, sure resonance. Mullins brings in Amy Galloway and Kirti Mills to add subtle, pretty embellishments to a couple of songs, the slyly percussive “This Paper Boat” cushioned and softened with dual vocals at the chorus (that’s Mills), the drone-y mysteries of “Linger On” enhanced with Galloway’s wavery unisons (she also sings on the very lovely “Weight of the World"). This latter cut is one of two to feature Mick Turner of the Dirty Three on guitar. He bows his instrument on “Linger On,” adding to the VU-ish mesh of tones and undertones that flicker through that cut. “Let the Light In” also bears his imprint, though unassumingly, in the glittering lattices of picked acoustic that are hemmed in with bells. The songs take shape slowly out of mists and aura and tone, shiver like rainbows for a little while and then subside into the air, all the prettier for their evanescence.

Jennifer Kelly

Finn Loxbo—Eter (Gikt)

Apparently Finn Loxbo is a restless sort. The Swedish musician has played punky electric bass in the jazz trio Doglife, navigated his electric guitar through the busy traffic of the Mats Gustafsson’s Fire Orchestra and recorded an album of pensive folk-rock for Kning. Now comes a solo CD, the first release by the Stockholm-based Gikt label, comprising solo improvisations on the steel-stringed acoustic guitar. Is this the real Finn? Probably not, anymore than any one good thing you do sums up the real you. But he’s pretty good at it, and it concentrates talents he’s likely developed in his other endeavors. Loxbo seems to have prepared his instruments strings and mic-ed them closely, yielding gamelan-like sonorities on one piece, Derek Bailey meets razor wire fence sound-spikes on another and soft abrasions on a third. Each of the album’s seven tracks proceeds with a lucidity that suggests his songwriter’s mind does not shut off when he puts away the vocal microphone. File this with the work of Bailey, David Stackenäs, and Norberto Lobo, but don’t just file it away.

Bill Meyer

Mutilation Rites—Chasm (Gilead Media)

Chasm by Mutilation Rites

This record completes Mutilation Rites’ transformation from a black metal band flirting with death metal, to a death metal band that sometimes plays black metal riffs. When Mutilation Rites began dallying with deathy rhythms and chunky chords on Harbinger (2014), it was worrying stuff: it suggested a band flailing for a sense of identity, and the resulting record was uneven, at best. Mutilation Rites’ more significant commitment to death metal on Chasm turns out to be an enlivening move (pun intended, hardy-fucking-har). This sort of music isn’t supposed to be fun, but on Chasm the band sounds loose and confident, like they’re enjoying themselves. Maybe that’s partially due to their decision to cut the tracks for the record at Brooklyn’s Saint Vitus, a venue the band plays regularly. In any case, Chasm is a good record, and folks who really loved Mutilation Rites’ first few EPs needn’t fret: “Putrid Decomposition,” the longest track on the album and ironically the one with the most death metal title, has the fleet, jagged riffing that captures the band at their blackest.

Jonathan Shaw

Shelton/Mofjell—Uncovered short run CDR (Singlespeed)

Uncovered by Shelton Mofjell

Ole Mofjell kicks off Uncovered with a blast of force. Unrelenting but texturally varied, it makes this clear; you’re not in for an easy ride. In short order Aram Shelton joins him, blowing so hard and low that you might ask, “who’s the tenor player?” Ride the wave into the next track and the pitch territory moves upward, and then the question changes to, “how does he make an alto sound like that?” Time and experience have darkened and deepened Shelton’s instrumental voice, which has shed the diamond brightness that he wielded in various Chicago-based ensembles in the earliest years of the century. But his fluency has increased, and there’s no better place to hear it than in the company of a drummer like Mofjell. Each player shifts tone and tack in a second, using silence as well as motion to give the other room to take deep dives into the complexity of interactions with their instruments and each other. Caveat — the physical edition of this album is a pressing of 100 professionally duplicated discs that you might only be able to get by attending one of Shelton’s concerts or contacting him directly via his webpage or the Singlespeed site. But if you’re not into keeping the international postage racket afloat, there’s always Bandcamp!

Bill Meyer

Sad Baxter—So Happy (Cold Lunch)

So Happy by Sad Baxter

Sad Baxter’s “Sick-Outt” does the mid-1990s ramp up from relatively quiet, melodic verse to screaming, crashing, unhinged chorus in a way that few bands even attempt these days, and if you’re thinking Hole, that’s because Deezy Violet’s a girl. The real reference is Nirvana, here and in the slow building guitar-and-cymbals firestorm that is “Wash,” a transformation from clamped down palm-muted tension to full on feedback fused noise. Violet’s partner in all this, Alex Mojaverian, builds a bristling, shivering dissonant wall of percussion and amp buzz around a voice that snakes around curvy melodies like the Muffs’ Kim Shattuck or, more recently, Speedy Ortiz’s Sadie Dupuis. Sweetness and melody lurk in the intervals between bursts of splintering noise, hooking a finger to lure you in for the kill.

Jennifer Kelly

Manas—Live At (Null Zone)

Live At by MANAS

This cassette, which was recorded last summer at Fresh Produce Records in Macon GA, drives home a point that’s never exactly been a secret. These guys are punks. Guitarist Tashi Dorji may have been raised in Bhutan and he and drummer Thom Nguyen may operate within the realm of freely improvised music, but they're writing their own rule book. This half-hour performance rolls, slashes and rumbles in some pretty rocking ways; they play with an improvisers’ faith that their music will create its own form, but also with an abandon that suggests they really don’t care if someone doesn’t get it; they sound really loud; and out of all the places where they could have made a record, they picked a shop that (per photographic evidence sourced from a Yelp review) puts all four Kiss solo LPs on the wall. That’s plenty punk enough! Sobering up for a second, the music on this tape evinces more nuance and space than other Manas recordings, and sports their clearest recording quality to date. Rock on.

Bill Meyer

Gordon Grdina's The Marrow—Ejdeha (Songlines)

Gordon Grdina's been merging his jazz-based guitar work and his oud studies for a decade and a half now, finding his way into Middle Eastern traditions while integrating his own voice. With his Marrow quartet, he's expanded the strangeness of what he does by opening space for bassist Mark Helias and cellist Hank Roberts, each of whom toy with the function and sound of their own instruments on new album Ejdeha. “Idiolect” lets each of the three musicians shine (percussionist Hamin Honari mostly stays steady here) while revealing Grdina's gift for composition. The track ebbs and flows, trading melodies and shifting intensity across its eight minutes before its surprising end. The piece relies on Arabic tones, but feels like a free jazz approach to performance, the sort of blend that Grdina can deliver in a way that's both comfortable and alien. “Ejdeha” pulses in a different way, its heavy beat thumping through as the quartet finds an unlikely groove. Grdina and his bandmates have figured out how to keep a grounding in various traditions while still sounding surprising.

Justin Cober-Lake

[jazzzzaj]

281118 JazzaJ / Shelton Grencsó Miklós (US/H)

JAZZAJ NOVEMBER: JELENLÉT (4.) Aram Shelton (US) - szaxofon, klarinét Grencsó István - szaxofon, klarinét, fuvola Miklós Szilveszter - ütőhangszerek Laza, de mögötte tűélesen fókuszált figyelem. Történetszövés. Jelen. Múlt és jövő kapcsolata. Folyamat. Aztán egyik pillanatról a másikra átveszi az irányítást valami nem tervezhető. Szellem? Extázis? Átszellemültség. Ez átragad mindenkire. Aki jelen van. A chicago-i születésü, a közelmúltban Koppenhágába költözött szaxofonművész, Aram Shelton munkáiban ugyanúgy felmerül ez a kettősség (finom figyelem –> "extázis") mint Grencsó és Miklós kollaborációiban. Ezúttal közös esélyt kapunk, hogy jelenlevőként átlépjük ezt a bűvös határt, és átadjuk magunkat – a zenének. Belépő: 1500.- A koncert után beszélgetés lesz a közönség és a muzsikusok részvételével. Az eddigi alkalmak után csak ajánlani tudjuk! _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ JAZZAJ NOVEMBER: PRESENCE (4.) Aram Shelton (US) - saxophone, clarinet István Grencsó - saxophone, clarinet, flute Szilveszter Miklós – drums, percussion Loose but sharply focused attention. Storyweaving. Present. The connection between past and future. Process. Then suddenly, something unintended takes control. Spirit? Ecstasy? Unworldliness – that infects everyone who is present. The Chicago-born saxophone player, Aram Shelton, who has recently moved to Copenhagen, often evokes this duality (sharp focus –> „ecstasy”) in his works – just like the collaborations of Grencsó and Miklós. This time, we have a chance to cross this border together and give ourselves over to – the music. Admission: 1500.- After the concert we will have a discussion with the audience and the musicians.

[glowingrealm-blog-blog]

Epic Show on Tuesday

Just wanted to do something I've never really done on the front page before. I'd like to actually give you some information about our next show. That's right, I'd like to actually tell you guys when and where you can see us in real life! We are really excited about a show coming up this Tuesday at The Camel.  These guys are from out-of-town and will have a lot of great merch, so come prepared to support!  Here is the official press information for this one: Who: Aram Shelton's Arrive with Glows in the Dark When: Tuesday,  7/29 show starts at 8:30pm Where: The Camel, 1621 W Broad St. (804) 353-4901 Cost: $5 Ages: ALL AGES!!! Straight from Chicago's fervent creative jazz scene comes saxophonist Aram Shelton's group Arrive.  Brought to you by the one and only Glows in the Dark, who will be supporting them in this joint venture to the outer regions!  These guys don't come around often, so catch them while they're here.  The walls at The Camel are still shaking from the last time Tim Daisy was here with Ken Vandermark! Also, for anyone interested in my random film thoughts, I should have some soon on the new wave of French Horror we've been seeing lately.

[noloveforned]

back to our 'usual' wednesday 4pm slot on wlur today. tune in or catch up with last week's show below!

no love for ned on wlur – june 18th, 2020 from 2-4pm

artist // track // album // label les warlocks // joanne // (bandcamp mp3) // (unreleased) zzvava // slumber days // mutable moons cassette // (self-released) momma // double dare // two of me // danger collective * clarke and the himselfs // mary rae says // mary rae says 7" // sub pop avishay // first time tomorrow // idiot in bloom // (self-released) sports team // fishing // deep down happy // bright antenna * nathan roche // public piano // piano, woman and bicycle 7" ep // gone with the weed shark toys // out of time // out of time 7" // chunklet industries sneaky pinks // i'm punk // sneaky pinks // almost ready nape neck // beaters // nape neck cassette // gringo coriky // clean kill // coriky // dischord jade imagine // heavy machines // you remind me of something i lost cassette // marathon artists adam gibson // the band's broken up // the songs of adam gibson // coolin' by sound sunwatchers // blind willie // brave rats ep // amish records sunn trio // alhiruiyn // electric esoterica // twenty one eighty two califone // 8min46sec - 5.25.2020 // talk - action = zero: a compilation benefiting black lives matter // rough trade publishing christian rønn and aram shelton // spread // multiring // astral spirits blacks' myths // upper south // blacks' myths // atlantic rhythms kahi el'zabar featuring david murray // necktar // kahil el'zabar's spirit groove // spiritmuse ramp // everybody loves the sunshine // come into knowledge // verve junie morrison // love has taken me over (be my baby) // bread alone // columbia gary wilson // and then i kissed your lips // you think you really know me // feeding tube fwy! // riverside fwy 4pm // hwy trust cassette // moon glyph kate nv // not not not // room for the moon // rvng intl. * the gist // this is love // interior windows // tiny global modern nature featuring itasca // harvest // annual // bella union * awksymoron // in my room // songs for bail- a quarantine compilation // babe city healing potpourri // think about us // blanket of calm // run for cover *

* denotes music on wlur’s playlist

[podilatokafe]

awesome jazz: Aram Shelton, Håkon Berre – Bygning G (2017) Πηγή: awesome jazz: Aram Shelton, Håkon Berre - Bygning G (2017)