psychedelic and avant-garde music from the 1960s to the present
psychedelic and avant-garde music from the 1960s to the present
psychedelic and avant-garde music from the 1960s to the present
psychedelic and avant-garde music from the 1960s to the present
psychedelic and avant-garde music from the 1960s to the present
psychedelic and avant-garde music from the 1960s to the present
psychedelic and avant-garde music from the 1960s to the present
psychedelic and avant-garde music from the 1960s to the present
psychedelic and avant-garde music from the 1960s to the present
psychedelic and avant-garde music from the 1960s to the present
psychedelic and avant-garde music from the 1960s to the present

:Episode One-Hundred Six: 05.25.2018

Artist Title Album
Mildred MaudeCPA ICPA
Buried FeatherMind Of The SwarmMind Of The Swarm
Atomic MoldHypnosisHybrid Slow Food
TsemblaAnimal NegativesTerror & Healing
Sugar Candy MountainTidal WaveDo Right
Wooden ShjipsEclipseV
CaudalDivisibleFight Cry Fight
Yonatan GatChronologyUniversalists
Gosh!CraterOdyssey
Mdou MoctarIlmouloudSousoume Tamachek
Ché-SHIZUA Journey 1 & 2A Journey
Abul MogardBound UniverseCircular Forms
PyramidDawn Defender (Excerpt)Pyramid
Listen at House of Sound

 

Description

The first set opens with a near-twenty minute rager from the UK's Mildred Maude, taken from their debut album CPA (which stands not for Certified Public Accountant, but Cosmic Pink Alignment - still, I sense a theme, since they named themselves after two of the dullest ladies' names ever conceived, and their album after a certification granted for accounting, perhaps the dullest profession), and continues with Aussies Buried Feather (who to my mind sound like a hybrid of Black Angels and Dead Meadow), Italian sludge-rockers Atomic Mold, the highly recommended avant-garde stylings of Finnish one-woman band Tsembla (also a member of the Kemialliset Ystävät collective), the psychedelic yacht-rock-y pop of Sugar Candy Mountain, and a song from the most recent album by Bay Area/Portland based mainstays Wooden Shjips.

The middle set leads off with Caudal, a side project of Aidan Baker, the man best known as one half of doomgazers Nadja, and also includes the MV&EE-inspired lo-fi stylings of Gosh! and some solo Tuareg guitar from Mdou Moctar, a featured artist of Portland's own Sahel Sounds label.

The final set includes the Annette Peacock-ish avant-jazzy sound of Japan's Ché-SHIZU, whose late-80s album "A Journey" was recently reissued, and an excerpt from the also recently reissued, sole one-song album from Krautrock obscurity Pyramid.