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Uproarious mix-up of Molam pop, Thai acid-rock, Javanese dangdut, default TwoTone and Cambodian instro-drama from the Oakland CA seven-piece including Sublime Frequencies’ Mark Gerghis (with Alan Bishop guesting).
Charged garage-rock from Vancouver, BC, Canada, 1970. Championed by the innumerate Enjoy The Experience: ‘Amongst my favorites, the sincerity and verve in the performances remain fresh to the ear and heart thirty years later.’
At the harmonium; bleak and utterly captivating. Terrific arrangements by John Cale.
A stone-cold classic.
Bringing together two EPs of hushed, late-night atmospherics.
Intense, dreamlike songs influenced by folk and minimalism, and informed by feminism, ecology and posthuman communication, deploying magnetic tapes, field recordings, and bits from the speech of contemporary thinkers, besides harmonium, organ, violin and cello, toy and electric guitar, and a small choir.
Half-price this weekend.
Her third Columbia, from 1970.
With Muscle Shoals crew on side one — Roger Hawkins, Eddie Hinton, Barry Beckett and co — and a lineup convening the Armenian oud-plyer Ashod Garabedian, Duane Allman and Alice Coltrane, on side two.
‘I love my country as it dies in war and pain before my eyes. I walk the streets where disrespect has been. The sins of politics, the politics of sin, the heartlessness that darkens my soul… on Christmas.’
Rie Nakajima and Keiko Yamamoto (co-founder of Cafe OTO in East London) are joined by violinist Billy Steiger and percussionist Marie Roux in a dozen deconstructions of Japanese folk music, for this pacy, intimately engaging debut album.
Rie’s baby orchestra of rice bowls, toys, clock workings, balloons and motors is by turns haunted, teased, adorned and laid waste by Keiko’s chanting, rumbling, whispering and stamping on the floor. The production by David ‘Flying Lizards’ Cunningham deepens and spooks the mix, which sparks with energy and wit, grace and mystery.