Psychedelic rock, krautrock, desert rock, punk rock, noise rock, afrobeat, experimental pop, post-rock, electronic; all are touchstones for Avec le soleil sortant de sa bouche. Their multi-movement durational music arguably combines trance rock and audio collage above all - a diced and spliced approach to longform multi-movement groove music played by a stripped down quartet of two guitars, bass and drums, synched to pre-recorded electronics and musique concrète. The band's unique restlessness and inventiveness seduces with shifts, turns and dovetails, consistently destabilizing its own inexorable musical logic in highly satisfying fashion. Avec le soleil sortant de sa bouche deploys a panoply of buoyant musical ideas, subtly sumptuous sonic treatments, and joyous stylistic nods - while remaining fundamentally devoted to working the groove from a kaleidoscope of angles. Their sound always seems to be escaping overt homage or retro tendencies; neither freighted with reverence nor weightless with irreverence, the music of Avec le soleil routes and uproots itself along its own refreshingly untrodden path. Pas pire pop, I Love You So Much is post-modern psychedelic trance-pop that sounds like no other.
RIYL: Can, Talking Heads ('80-'83), This Heat, Neu!, Stereolab, Do Make Say Think, Animal Collective, Tinariwen, Black Dice, Battles, Fly Pan Am
Awa Poulo is a singer of Peulh origin from Dilly commune, Mali, near the border with Mauritania. Largely pastoral and often nomadic, Peulh- (or Fula-)speaking peoples are found from Senegal to Ethiopia but predominate in the Sahel region of West Africa. Awesome Tapes From Africa is proud to release Poulo's newest recording of highly virtuosic folk-pop, fresh from the studio, broadcasting her vision of Peulh music beyond the grazing grounds and central markets of her remote home region in southwestern Mali.
It's not very common to find a female singer performing publicly among the Peulh. But Poulo's mother's co-wife is Inna Baba Coulibaly, who is a celebrated singer most Malian music fans know. Coulibaly herself was brought into music by forces outside her control when a regional music contest required an entry from her village and she was chosen to be a singer. So, set in motion by a surprising series of events, young Poulo's entree into the music world was auspicious as she gained popularity across the region. After several locally released tapes and CDs, this record is Poulo's first internationally-distributed record.
Society would deem a prodigious girl can't be in a progressive rock band while also being in complete control of its creative vision, business plan and social messaging. Society is wrong. Clem, a 19 year old teen Queen dreamed up Cherry Glazerr in her LA bedroom alone and is perhaps more capable of figuring a music career out than anyone who attempts this treacherous life path.
Back in 2014, much-loved Cali imprint Burger Records released their intoxicating debut Haxel Princess and Suicide Squeeze released the Had Ten Dollaz 7-inch. On Apocalipstick the band worked with "rock'n'roll wizard" Joe Chicarelli [White Stripes, The Shins, The Strokes] and Carlos de la Garza [Bleached, M83, Tegan and Sara]. With their help and the band's newfound self-discipline and motivation, Cherry Glazerr has evolved into a wildly complex, hugely guitar heavy, and unapologetically loud machine.
Foxygen is the Big Bang of two combusting minds. It's the splayed Galaxy of polar geniuses Sam France and Jonathan Rado. It's a handshake with a knife behind your back. A sleepless night in a five star hotel.
You listen to Hang properly. You take in each moment. Each new melody that threads forward from the fingertips of one of this generation's finest piano men in Jonathan Rado. And you fall in line behind Sam France's sprawling and reckless lyric. Witness his mastery. Feel them struggle against the walls of their own creations. Follow them there. To the perimeter. To the exit sign.
Notice that the two young guys aren't there anymore. They're outside looking for another joint to haunt. They're already out of sight.
Twenty years now there's been this thing, our band, Joan of Arc. Sometimes we forget about it and let it fizzle out for a year while we tend to our lives. Sometimes we cling to it for a year and wake up surprised and exhausted every day for months on end, given walking tours of old Italian towns, browsing dreary British pedestrian malls or barefooted organic grocers on the Pacific coast. We know how lucky we are.
The less we feel like a band - the more we can continue to be a band, but escape that feeling of doing all those shitty, corny things expected of bands - the truer to ourselves we feel. And you all know it, everyone knows it even if everyone has to bury it to get on with their day-to-day: the truer to ourselves we feel, the better everything gets.
We have shifted shapes and modified our approaches quite a number of times in the course of twenty years. And we've done so always aiming to stay true to ourselves at that moment, by instinct and with conscious intent. This time, it took us a long time to figure out how to start back up. We threw away a lot of songs and started over, over and over.
But here's the thing: We are getting better at being ourselves. So many of the postures of youth just fall away with time. Most bands break up by that point, or become caricatures of their younger selves. Because money is tricky, or I should say, it comes to be that energy is tricky to muster after all of it goes into the basics of sustaining yourself.
Every day, at some point, it occurs to me that Richard Brautigan killed himself at the age that I am now. But I've got this community of weirdo collaborators to lean on that he never had.
We've never had an audience that gets any validation of its coolness through liking us. We've mangled, juxtaposed, and collaged too many elements for that social contract. But we trust each other.
This time, finally, we trusted each other enough to throw all the songs away, to even throw away every preconceived idea about which one of us should take position at which instrument. We hit Record and played, and our collective tastes emerged. And they, our tastes in the moment, were the only standards in all the expanse of the stupefying and beautiful unknown universe, that we regarded as relevant in the least.
After five decades of recording and touring, veteran British songwriter and guitar sage Michael Chapman has finally made what he calls his "American record," and the aptly titled 50 now stands as his late career masterwork, a moving legacy statement by a legend. Backed by a collaborative group of friends and acolytes - Steve Gunn (who also produced), Nathan Bowles (Pelt, Black Twig Pickers), James Elkington (Jeff Tweedy, Richard Thompson), Jason Meagher (No-Neck Blues Band), Jimy SeiTang (Rhyton), and fellow UK songwriting luminary Bridget St John - Chapman tears into both bold renderings of new songs and radical reinterpretations of material from his revered catalog, the crack band adeptly scaling the same rarefied sonic heights of classic Harvest albums like Fully Qualified Survivor, guided by a true survivor's instinct, wit, and wisdom. The result is a sublime chiaroscuro self-portrait, more shadow than light, as an invigorated Chapman wrestles with weighty themes of travel, memory, mortality, and redemption, his world-weary whispers assuming the incandescent power of prophecy.
The deluxe LP package includes tip-on jacket, printed inner sleeve, lyrics, and download card with two bonus tracks; the CD features a gatefold jacket, lyrics, and two non-LP bonus tracks.
Under The Pipal Tree is the debut album by now-legendary Japanese experimental rock band, MONO. Released in 2001 on avant-garde icon John Zorn's Tzadik label, Under The Pipal Tree showcased a young Japanese quartet whose wide range of influences - most notably Sonic Youth, Mogwai, The Velvet Underground, and Neil Young's Crazy Horse - were on ferocious and ambitious display. Though MONO would eventually become known for their expert marriage of metal and classical genres, Under The Pipal Tree highlights the band's psychedelic roots. Long stretches of hypnotic, melodic washes give way to scorching guitar freakouts that evaporate into haunting silence. It's remarkable not just for its earnest exploration, but for its startling execution. Fifteen years and eight albums later, Under The Pipal Tree stands as one of the great debut albums by a seminal underground band. Finally released on vinyl for the first time ever, Under The Pipal Tree has been remastered for vinyl by longtime friend and tour mate, Bob Weston at Chicago Mastering Service. The double album is packaged in all new artwork, and is pressed onto audiophile-quality 100% virgin vinyl. This stunning album has never looked, sounded, or felt better.
Before there was The Cleaners from Venus, prolific singer-songwriter and national treasure of Wivenhoe, England, Martin Newell was in a band called The Stray Trolleys. In 1980, he and a few youngish unknowns got together in a little home-built country studio and recorded a handful of songs for an album that eventually emerged on a DIY cassette, Barricades and Angels. They weren't perfect, but there is something very special about this collection. The music captures a time. Just listen.
On Luck Man, the Fresh & Only's and Magic Trick frontman's first solo record for Sinderlyn, Cohen has created a lush, insular world that deals with the uneasiness of accepting life's inherent flaws. Recorded in his attic and at El Studio in San Francisco after recently moving back to a city he longed called home, Luck Man is a personal statement distilled from Cohen's own experiences.
Epoch is the final album in the trilogy beginning with 2011's Dive, then 2014's Awake. This period between Dive and Epoch marks a significant maturation for Scott Hansen's continually expanding project, one that has taken him from a solo performer and bedroom artist to fronting a live 4-piece band on large stages across the world.
Epoch hones the sonic aesthetic of Dive while drawing on the kinetic energy of Awake, it explores darker themes and new musical territory. The album was produced and recorded by Hansen predominantly in his home studio in Berkeley, California. The album was arranged alongside long timecollaborator and partner in the project, Zac Brown. Brown contributed bass and guitar parts to the songwriting process. Rory O'Connor performed drums on the album. Hansen sees Epoch as a multi-dimensional artistic vision at the confluence of his graphic design work via ISO50 and music with Tycho. The graphic presentation of album artwork is as important as the music itself. The keystone is the central image of Epoch and the color scheme red and black. This is a stark contrast to the almost rainbow palette of Awake.
Wake in Fright, the second full-length by the New York City duo Uniform, is a harrowing exploration of self-medication, painted in the colors of war. Following the Ghosthouse 12", whose A-side Pitchfork called "their most relentless track yet," vocalist Michael Berdan and guitarist/producer Ben Greenberg return with a new batch of even more punishing tracks that incorporate elements of industrial music, thrash metal, harsh noise, and power electronics.
World-renowned as one of experimental music's most vital and impressionistic composers of the past few decades, William Basinski's tape loop works have been especially influential, particularly on the historic series, The Disintegration Loops, where distorted, orchestral tape samples burrow deep into the listener's psyche through meditative repetition. On his new album, A Shadow In Time, Basinski plunges deeper than ever for the plaintive, solitary eulogy to David Bowie, aptly titled "For David Robert Jones." Conversely, the title track, "A Shadow In Time," is a subtle, celestial escalation of melody and drone. The result is one of the most truly transcendent pieces of music he has ever committed to - or wrung from - tape.