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Weston Olencki
Broadsides
Outside Time
‘A psychoacoustic odyssey through the American South, influenced as much by Dock Boggs as by Luc Ferrari. This isn’t ‘avant-folk’ as per, but more expansive avant-garde compositions using components of traditional music as tools for storytelling. There are banjos, but they bounce around the stereo field in hypnotic patterns; there are autoharps, but they’re bowed, left detuned by time and humidity, and augmented with sounds of screeching cicadas.
‘Check out the haunted, ambient interpretation of the murder ballad Omie Wise, featuring fourteen different versions of the song time-stretched and overlaid with pedal steel by Tongue Depressor’s Henry Birdsey. It’s a wild listen!’
Superb fourth album, bare but sparkling, steeped in her vaudevillian take on Americana, rawly confessional and beautifully voiced as ever — a mid-thirties heartful of fierce discontent.
Back in business, with his best outing for a while, this is class.
Fine songwriting, steeped in its own version of Americana (Don Williams, late Elvis), and richly produced.
Following Alan Lomax, Daptone placed a small local ad, asking singers to show at Mt Marian Church a certain Saturday. This marvellous record of acappella gospel is the result, including everyone who showed up.
Politically indignant, sorely poignant, musically prodigal — Tex Mex through cartoon-Chinese reggae through Brecht ‘n Weil — elegy for local LA neighbourhoods like Chavez Ravine, swept away by 1950s capital.
Lovely. Classical songs by such exemplars as Schubert and Schumann, re-imagined with heart and soul as bare, doleful folk. Just voice and electric guitar.
Terrific — lit-up, reaching and odd — Josephine playing harp, guitar and piano (and singing), with Alex Nielson on drums and Victor Herrero, lead guitar.
Patti Smithed. ‘Lyrically, stylistically and musically, this is a fearless, soon to be classic post-punk rock and roll record that delivers the goods from start to finish.’
Settings of the poetry of Emily Dickinson.
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