Nick Cave and Thurston Moore are both showing up. I visited the exhibit for the first time today and it was cool. I was definitely impressed by the artwork of Claude Dangerfield stephen bitgood museums in houston tx it's always looked great on the album reissues but it also holds up very well in the museum setting, and it's cool to see the original printer's color separations and rough sketches that went into the finished product. This guy should've painted covers for sci-fi books!
Also a treat to see Alton Abraham's sketches for the projected 10,acre El Saturn Research complex, which unfortunately never came to fruition. Anyway, here's the schedule so far: Informative panel discussions, musical performances, and readings will investigate the impact Sun Ra and Afro-Futurism have had on American history and visual culture. Bringing together contemporary artists, major writers, and scholars who have focused on this prophetic jazz band leader, composer, pianist, and self-proclaimed extraterrestrial, this free event will enlighten and intrigue those interested in African American art and music of the postwar period.
For a detailed schedule and list of panelists, please visit www. The Cry of Jazz by Edward O. December 5 Film double feature: Music for Tomorrow's World: Sun Ra in Chicago: December 10 Phil Cohran An intimate look at Sun Ra from one of his key associates, Philip Cohran, who played trumpet with the Arkestra in the late '50s, before starting his own influential group the Artistic Heritage Ensemble.
John Corbett will interview Cohran, who will also narrate a slideshow of rarely seen Arkestra photos. And, judging stephen bitgood museums in houston tx this brand new album, on Three Lobed's subscription-only "Modern Containment" series, they've really d evolved into something SICK while I was looking the other way.
This is twisted blackened riff-shit shot through with total industrial damage, in the form of horrendous broken-mechanical loops that stomp forward like damaged androids, guitar feedback and amp noise hanging off the frantically lumbering robot limbs like radioactive moss, sometimes always?
Just check out track 2, "When We Were Graves. And that lumbering loopazoid android Heep vibe is maintained throughout, no mercy, no quarter. I'm not sure why I put it right in the player, casually jumping it past all of the deserving titles sitting here in these sprawling 'up next' piles that probably amount to something like, oh, eight or nine months of listening. Maybe it was simply because of the psychedelic xerox fold-out artwork on the cover -- I'm telling you, nothing beats good artwork for making a release stand out of the glut.
Anyway, I put it on, and was kinda immediately and unexpectedly floored by some heavy, deep, and rather MEAN power-synth trio-drone aktion. This stuff is from the gut, for the gut, and it grinds away in there for 49 minutes. This time he's solo, playing strange strings " martin tenor guitar, 19th century parlor guitar, 's prime alpine zither, 's elegie alpine zither" in a flipped-out ancient-to-the-future folk setting. It's basically a solo guitar album, and this release totally reminds me of the Alvarius B instrumental LPboth of them go-for-broke twisted-roots solo jammers by an 'older dude' named Alan.
Would've made a very fine minute LP or CD for that matterbecause Sondheim's music is a lot of things -- fluid, inventive, timeless, borderless, lovely, but also very open to chaos, weirdness, risk, and ugliness. And as always, check out asondheim. Amlee does live in Northampton, Massachusets, which isn't too far from Maximum Arousal Farm, and both a straw hat and a strange stringed instrument figure into his cover photograph Where MV and co.
Some might even say 'new-agey', but this Afternoon Dream sounds too nice for it not to be a compliment, with longish tracks that ripple and hover with sublime sitar and acoustic guitar sounds, delicately FX'd into subtle blankets. Now, Amlee is no virtuoso Shankar acolyte on the sitar -- he's using it more as a resonator, a mere vehicle for the deep strange sounds that mostly come from beneath the frets. I dug Amlee's solo sitar-in-a-room record Sitar Vol.
Happy Helloween from the Dolmans, photo by LD. CDR edition on Breaking World is pictured. A seriously fine piece of work, and a bit underrated as far as I can tell.
He's going on a big E uropean tour in a couple days and here are the dates: Wednesday November Freiburg Germany www. Canyon, sure -- but although this super-thick super-sick droned-out rock music may reverberate like it's coming from a canyon, it's the high end that seems strangely emphasized, with seemingly dozens of guitars conjuring up a frothy orange-treble electro-fizz syrup that yet more guitars can worm their way through with slowed-down heavy rock riffs.
And believe stephen bitgood museums in houston tx, the cover art really gets the colors right. It was all pretty confusing, but I got some insight when, about the same time as this promo copy of Orange Canyon Mind magically appeared from deep inside a dusty pile of padded mailers and promotional crap, I happened to pull out a back issue of The WireNovember for the Wolf Eyes cover story, and while inside came across an article on Matthew Bower, the founding and only constant member of Skullflower.
The article is by David Keenan -- him again! Which is a nice place to bring up the next secret ingredient pulsing deep within this stuff, the seed inside the humus if you will, identifed when Keenan quotes Bower thus: In their long instrumental passages they aren't counting bars, they're within the music but they aren't improvising per se.
They have a stephen bitgood museums in houston tx structure, but they're also making it up as they go along, messing with the top layer of interplay and how the riff changes. I've been learning that a lot lately, and here we go again. Tribulation is the followup to last year's massive Skullflower album Orange Canyon Mindand it is even more massive, with less explicit post-Hawkwind dream-riffage and much more low end, more of a full-circle dive back into Bower's power electronics roots.
Seriously, this is brutal stuff -- the album title does not seem chosen lightly. Most of the tracks have no riffs at all, just oceans of howling power drone piled on top of each other. All tracks stop suddenly and cut immediately into the next maelstrom, so listening on multidisc shuffle has an actual WRENCHING effect, the track stopping so suddenly into silence that I am yanked out of a deep immersion that I had no idea I was completely in. Riffs do emerge, especially late in the album, as on "Dwarf Thunderbolt," which has heavy slowed-down doom themes reverberating out of its overdub oceans, riffs which eventually stephen bitgood museums in houston tx beautiful and church-like.
But that's a very brief respite, if you can even call it that. Again, the album title does not seem chosen lightly. It's been a couple years, y'know? Now we all know that this crazed cabal could play amazing 'side-long' jams, stephen bitgood museums in houston tx they really had a lot of great short er tunes too, and this album has a great concentration of those. It's just a fun album. Pandit Pran Nath Yaman Kalyan, Punjabi Burva Shandar LP, Awesome vocal crawl through all the tones within the sparsest of scalar phrases -- yeah, like I understand the universes within this music.
This is more prime Sea Ensemble music, released on Kali Fasteau's own label. Not sure why she didn't bill this as Sea Ensemble, because the, er, lineup is stephen bitgood museums in houston tx same. Regardless, nothing but great total improvisational mind-dive music here, on the double bass, the piano, all manner of winds, horns, flutes, and percussion, this is the unstoppable space-alien, whale-noise, coral-reef type shit.
Also great loving essay by Fasteau about her man Garrett. Niagara Falls Zwei CD Honeymoon Music These folks are from Philadelphia, where they've got their own little universe of improv-psych space-folk type acts. Niagara Falls take some of the fallout from the misterioso northeastern NNCK approach and give it their own maybe slightly gentler sub-regional spin. This Niagara Falls CD is a lovely looking and sounding object. The jams tend to be long, sparse, hushed, and eerily pretty, but they are also willing to quicken the pulse every now and then, sometimes even breaking out into the open and looking around, moaning and groaning a little bit.
I have listened to this CD though, and it hath knocked me on my ass. It's far from an exact match, but something about these hyper-hooks keeps making me think of Sparks, another American artist that sounded British.
Of course, the Sparks were recording in Britain with British musicians -- Reatard is just bustin em out in Memphis, Tennessee, on this album playing everything by himself, which is hard to believe, as fast and sharp as these songs are. Yeah yeah, I saw that American Hardcore movie tonight. I was annoyed by the typical post-VH1?? High points for me were of course the Bad Brains live footage -- they sounded amazing through those Landmark's Century Center theater speakers, sheer sonic live-band power that just doesn't come across on YouTube, though H.
Jack Grisham's lisp and good pipe bomb story involving The Middle Class. Mike Watt driving us past the low-rent streetcorner where the first Minutemen show was.
Rollins's stephen bitgood museums in houston tx about buying stephen bitgood museums in houston tx on an SST salary. MacKaye's story about figuring out how to make sleeves for the first Teen Idles single. First off, I would have every live snippet replaced by at least one complete song.
Definite 'post-punk ethno-instro-drone' thing going on, but what makes it new is that it's not 'dark' in the slightest -- in fact, it has a sunny and wide-eyed feel to it, and the ace-in-the-hole is a strange psych-pop songwriting aspect that proudly surfaces a stephen bitgood museums in houston tx times, as on the title track, and the great descending, winding, melodic "One Shade Darker.
Ethereal Plains Indian is the solo guise of one B. Super Happy Funland Ashland St. Stephen bitgood museums in houston tx Green 5th Ave. The Pilot Light E. Bobo Gallery 22 Lexington Ave.
Strange Maine Congress St. Flywheel stephen bitgood museums in houston tx Holyoke St. House of Tinnitus Lakey St. Ha ha, "the bruise," so that's what MacLise meant by "the fall" Check it out here he quotes it from memory and makes it a little more amazing than it actually was, but stephen bitgood museums in houston tx still really close to what Braxton actually said, like 28 years before he heard Wolf Eyes -- no wonder he was stoked!
They may only be mysterious to me because I can't read the French that their website is in, but the many downloadable. There's an ad for this in the new Arthur Mag, but shit, the band should be on the cover.
Who are Flying Canyon? You may have heard of Glenn Donaldson, a member of the Jewelled Antler collective. He's in the band, doing his backup vocal and instrumental magic, and his de facto arranging and production is chilling, sparse, lovely, and aeons wide, but the main singer and songwriter here is a guy named Cayce Lindner. I had never heard of him before, stephen bitgood museums in houston tx man, this guy stephen bitgood museums in houston tx good.
I practically hear a new psychedelic folk album every week, and Stephen bitgood museums in houston tx can't tell you how much Lindner's tunes immediately stand out from all that. The opener "In The Reflection" booms right out of the gate with a tape-slowed Crazy Horse backbeat, joined by mellow-fuzz bass guitar, over which spooked acoustic guitar, yearning falsetto hooks, and Linder's clear and strong verses start pouring like the slowest molasses, building into a chorus that I can already sing in my sleep.
The California Doom tag certainly applies to track two "Down to Summer," because it sounds a lot like the sweet eerie folk songs that former members of California Doom perpetrators the Manson Family Brooks Poston and Little Paul performed in the documentary film Manson And hey, there's eight more songs here, for a short and sweet running time of 35 minutes, all great-sounding moody gems that get better with every listen.
The recordings are fromwith the kind of careful arrangements, overdubs, and post-production effects that come from a fairly serious studio setting, and the result is four songs around ten minutes in stephen bitgood museums in houston tx, all beautifully controlled sad glowing mini-epics that hover and radiate soft weird light.
Track three "Yellow Pine" is especially zoned -- it doesn't so much 'play on my stereo' as 'pull me into its orbit. At least I stephen bitgood museums in houston tx of it as the blues -- something in the lilt, in the way she might hit a two-note phrase over a stephen bitgood museums in houston tx drone, that reminds me of Robert Johnson's " hoo hoo ," but from another century, another gender, a different chord structure, singing about a whole different hound on a whole different trail.
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