#mexican summer

[lovee-paraiso]

muy linda ♡

src: pinterest

[ruinedholograms]

A Year With 13 Moons (2015)

[disease]

GENEVA JACUZZI // RUNAWAY DNA [LAMAZE, 2010]

[underachievers-please-try-harder]

Track of the day // Jessica Pratt - Life Is

From the album Here in the Pitch, out May 3rd on Mexican Summer.

[august-sysex]

jessica pratt - life is (2024)

[burlveneer-music]

L'Rain - I Killed Your Dog

L’Rain is the musical project of multi-instrumentalist, composer, performer, and curator, Taja Cheek. Alongside Andrew Lappin and Ben Chapoteau-Katz, she has developed L’Rain into a shape-shifting entity that blurs the distinction between band and individual. Beginning as an abstract meditation on grief, Cheek traces the origins of L’Rain to the period which followed the dissolution of her vibrant DIY musical community in early 2010s NYC and the passing of her mother, Lorraine. The name L’Rain was conceived as both a tribute to her mother and her own gregarious alter ego L’ (lah-postrophe), and one which she subsequently tattooed onto her arm. As with Fatigue, the cast of I Killed Your Dog’s world is supremely varied – taking in theoretical physicists, subverting Baroque compositional tropes and the dad rock nostalgia of The Strokes, the words of choreographer Bill T. Jones, tricks of commercial advertising and voice note wisdoms of people she holds close. Produced alongside long-time collaborators Lappin and Chapoteau-Katz, along with L’Rain bandmates, Zachary Levine-Caleb, Justin Felton, and Timothy Angulo, I Killed Your Dog is a crystallization of L’Rain’s tactile approach to song-writing. The album is also an implicit interrogation of the electric dreams and failures of early synthesizers, toying openly with rock music tropes, the lineage of folk as Black music in America, and Cheek’s own background playing in experimental guitar bands.

[trevlad-sounds]

Saturday 09 December Mixtape 403 “Night Rolls EXCLUSIVE”

Multi Genre, Downtempo, Ambient, Electroacoustic, Experimental Tuesdays & Saturdays. Support the artists and labels. Don't forget to tip so future shows can bloom.

Trevlad Sounds-Welcome in you wonderful listener 00:00

Gregg Kowalsky-Nights Move 00:31

Suzanne Ciani, Jonathan Fitoussi-Coral Reef 04:50

Drapizdat, Ито Кумаре-Сквозь Зазеркалье 09:03

Synthotherapy-It Takes A Long Time 12:25

Anantakara-Letting Go, Finding Light 16:57

Tarotplane-Descartes Camera 24:02

Thought Bubble-Devoider 27:31

Panama Fleets-Laguna Oscuramaru 33:43

Time Rival-Electronegative 38:24

Sven Wunder-Lunar Distance 43:50

Futuregrapher-Moog Meditation 3 47:45

F.U.S.E., Richie Hawtin-Nitedrive 56:40

Robohands-Jorge 59:50

Field Lines Cartographer-The Nest 1:03:01

Mary Lattimore, Roy Montgomery-Blender in a Blender 1:11:10

Subphotic-The Sitting Tree 1:17:18

36-Blow Out 1:24:15

Roy Werner-Late Chime 1:27:50

Actress-Chill ( h 2 ) 1:31:04

André 3000-The Slang Word P( )ssy Rolls Off The Tongue With Far Better Ease Than The Proper Word Vagina . Do You Agree 1:32:01

Burial Grid-The Woman Buried Beneath the Candle 1:44:04

Michael Brückner-Claudette 1:47:14

Survey Channel-Moss Tilt 1:54:36

[dustedmagazine]

Jess Williamson — Time Ain’t Accidental (Mexican Summer)

Singer/songwriter Jess Williamson splits her time between Los Angeles and her native West Texas. Both cities feed the inspiration for her songs. Likewise, the production of the recording, done by veteran Brad Cook, who has also collaborated with Williamson on previous work, takes into account both her country background alongside an indie pop sensibility, exemplified by the discrete employment of winds and keyboards.

Williamson sang on the 2022 recording Plains, which was one of my favorites last year. While Plains’ harmony singing was central to the project and here Williamson doesn’t have another high voice with which to pair, there still is a supple sense of keening harmony. “Time Ain’t Accidental,” “God in Everything” and “A Few Seasons,” which feature overdubbed vocals, are welcome. Cook also occasionally sings background vocals. The title track has an elegant arrangement, with banjo and dobro, played by Phil Cook, and steel guitar, played by Deshawn Hickman, alongside Cook’s Wurlitzer and electric guitar. Elsewhere, saxophone and clarinet blend into the texture; emphasis on blend. Nothing overtakes Williamson’s singing and the basic keyboard and guitar accompanying elements.

The songs themselves are artful creations. Williamson has performed with a number of artists — Weyes Blood, José González, and Kevin Morby among them — and learned well from them. The country music vocabulary of the Austin scene, with its emphasis on simple chord progressions supporting the primary feature, singing, is always the spine of the music. Yet this gels seamlessly with the pop elements present.

The songs encompass lyrics that deal with love lost and love (possibly) found. “Topanga Two Step” is an example of the latter, with Williamson querying, “Is it a one time dream or a country queen that you take me for?” So many romantic songs today get from A to Z before the pre-chorus. Williamson has been hurt by bad relationships in the past. Previous recordings have discussed this openly. “Topanga Two Step” expresses a tentative vulnerability, a desire to take this new relationship slow, to avoid previous missteps. Similarly, the refrain of the title song (and the rest of its story) urges caution: “Look me in the eyes, it's all experimental, Torn up over timing, but timing ain’t accidental.” One hopes that her discretion is rewarded with a love that is well worth the wait.

Christian Carey

[greggkowalsky]

[frgmnthtr]

Heart of Dust (2012)

[lovee-paraiso]

dropping in to say, “welcome!” to all the recent new followers. ♡

src: pinterest

[ruinedholograms]

Light Asylum (2012)

[trevlad]

Wednesday 16 August Mixtape 355 “Sweet Day Revelation”

2023-08-16

Retro Lounge Wednesdays, Fridays & Sundays. Support the artists and labels. Don't forget to tip so future shows can bloom.

Kutiman-A Day Off 00:00

Mort Garson-Ode to an African Violet - Alternate Take 05:01

Jonathan Fitoussi-COLORS OF THE FUTURE 08:50

Milieu-Euflorian 16:05

Uncle Fido-They Muse 20:29

Veslemes-Morning Patrol 22:34

Bright & Findlay-Fireflies 27:38

Yan Tregger-The Last Girl 30:34

Uh Huh-Citrus Song 34:39

Sessa-Música 38:20

Yves Malone-Black Trucks Fill the Night, Empty Then Full 40:55

Vulfmon-Harpejji I 44:34

ATA Records-Going Galtactic 46:05

Piero Umiliani-Sweet Revelation 47:54

[underachievers-please-try-harder]

Track of the day // L'Rain - Pet Rock

[bandcampsnoop]

5/15/23.

"Petunia" is the new LP from Tonstartssbandht (made up of brothers Andy and Edwin White and started in Orlando, Florida). When I saw the name I thought they might be a Scandinavian band, and in some ways they do remind me of bands such as Kiki Pau or Dungen.

But there is a vocal style here that recalls Field Music or even the sweet melodies of Kings of Convenience. And without a doubt, some of this music reminds me of Yes, Radiohead or The Smile. They toured a ton...I wasn't at all surprised to learn they toured with 工工工 (Gong Gong Gong).

Hard to believe this is the band's 18th album and second for Mexican Summer. A lot of catching up to do!

[burlveneer-music]

Gregg Kowalsky - Eso Es - RIYL Japanese electronic New Age of the 90s

Raised in South Florida and trained at Mills College under Fred Frith and Pauline Oliveros, Kowalsky first came to prominence during the mid-2000s as a member of the thriving experimental music scene in the Bay Area, issuing a series of stunning albums on imprints like Kranky and Root Strata and contributing to a reinvigoration of American made Minimalist and electroacoustic music. In an addition to composing solo works, pieces for large ensembles, film soundtracks, dance performances, and site-specific installations over the past twenty years, during the 2010s Kowalsky concentrated his energies as one half of the critically acclaimed duo Date Palms, performing extensively and releasing three hypnotic albums, including 2011’s Honey Devash on Mexican Summer. Eso Es is an album that might not have been; a phoenix from the ashes, born of restlessness and fatigue, that doubles as a poignant reminder that experimental music doesn’t have a fixed aesthetic or “sound.” Returning to Kowalsky's childhood fascination with synthesizers and plunging headlong into the joys of the unknown that drew him toward experimentalism decades ago, the album was composed and recorded almost entirely on a Yamaha DX-7 synthesizer and sequencer both guided by overdriven MIDI data. The album’s seven compositions are the result of an entirely new process for the artist, embracing chance and the organic dialogue between an artist and the limitations and possibilities naturally presented by an unfamiliar instrument. While unquestionably led by a clear sense of process and structure, both were developed responsively, in real time, emphasizing listening as a key element within the act of composing. The resulting lines of shimmering synthesizer and intoxicating rhythms bubble with a gleeful naiveté that often informs the early years of an artist’s practice.