:Episode One Hundred Seventy-Four: 2.7.2020
|Elkhorn||Electric Two (Part B)||The Storm Sessions|
|Johnny and the Rotten||Welcome to the Desert||Down the Rabbit Hole|
|Clear Light||Street Singer||Clear Light|
|Bardo Pond||Cracker Wrist||Bardo Pond|
|Jon Hassell & Farafina||Flash of the Spirit||Flash of the Spirit|
|Tomás Tello||Danza del Monito||Cimora|
|LA Timpa||Backyard Exotic||Equal Amounts Afraid|
|Tara Clerkin Trio||Hellenica||Tara Clerkin Trio|
|Cindy Lee||I Want You to Suffer||I Want You to Suffer (Single)|
|Aidan Baker & Gareth Davis||The Dead||Invisible Cities II|
|E-Musikgruppe Lux Ohr||Die Vergangene Zukunft||Non Plus Ultra|
|Hiroshi Yoshimura||Dance PM||Music For Nine Post Cards|
|Cosmic Ground||Azimuth/Drowning||Cosmic Ground 5|
|Daniel Avery & Alessandro Cortini||Illusion of Time||Illusion of Time (Single)|
Open playlist in Spotify
* Not on Spotify:
Cosmic Ground - Azimuth/Drowning
The show opens with the pounding drums of Poland's Lastryko, from their most recent album of Kraut-y post-rock (a little musical semantic hand-wringing here: there's a bit of a post-rock revival afoot (making it... post-post-rock?) and I feel slightly conflicted describing members of this movement as Krautrock-influenced, since a lot of the original post-rock bands, e.g. Tortoise, Trans Am, were in some ways a second, American wave of Krautrock. But at the same time, it can be a useful descriptor, since post-rock is a pretty broad term, and encompasses bands like the Sea and Cake, who are much more influenced by fusion jazz than avant-garde rock). Following this are NYC psych-folksters Elkhorn with a track from their latest album, The Storm Sessions, which they recorded while snowed in to their home studio. After that are Austrian band Johnny and the Rotten with some Stooge-ian psychedelic punk, a bit of proto-doom (predating Sabbath by three years!) from L.A. Nuggets-era band Clear Light, and finally, the legendary Bardo Pond, with a track from their recently reissued 2010 self-titled album, that shows off my favorite of their various musical modes, which is a Melvins-ish wall of sludge leavened by an MBV-ish ethereality.
The middle set starts with another long-overdue reissue (as with the Deep Listening Band's debut, heard last week), in the form of Fourth-World innovator Jon Hassell's 1988 collaboration with Burkina Faso percussion group Farafina. For those of you who enjoy Hassell's work, but sometimes wish, as I do, that it had a bit more forward momentum, this album is for you, as Farafina provide ample amounts of it. Next is Peruvian artist Tomás Tello, who avant-garde-ifies (that's a verb, right?) the traditional sounds of his native land, followed by Nigerian-born, London-based musician LA Timpa, with some spaced-out pop, and the Tara Clerkin Trio, with some dub-influenced jazz. Then, rounding out the set are a couple of Canadians (eh, sore-y, what's that all a-boat, you hoser): namely, Calgary-based, genderqueer artist Cindy Lee, who performs avant-garde pop that leans hard on the avant-y aspects (not a lot of pop songs with minutes-long feedback breakdowns), and the insanely prolific Torontoan Aidan Baker, who combines his trademark doomgaze guitar sound with the clarinet stylings of Gareth Davis (for the skeptical: while fuzzed-out guitar and clarinet don't exactly seem, on paper, like the musical version of chocolate and peanut butter, man do they go suprisingly well together).
The loo-ooo-oong tracks of the week come in the electronic portion of the show, in the form of the neo-Kosmische of Turku, Finland's E-Musikgruppe Lux Ohr and Germany's Cosmic Ground. In between them is the palate-cleansing minimal electronics of Japanese avant-garde legend Hiroshi Yoshimura, from his newly-reissued (yet again, by Portland's own Empire of Signs label, run by the members of Visible Cloaks) ambient classic Music For Nine Post Cards. Then, wrapping up the episode is a little pop ambient gem by longtime NIN member Alessandro Cortini and British producer Daniel Avery.