Her demand for safety and to live without fear of rape is unequivocally relevant in the metoo era. Electric guitarist Mary Halvorson, pedal steel guitarist Susan Alcorn, and drummer Ryan Sawyer don't show any more interest in using their instruments in normal ways than Wooley does. Catlin's mother named the trio Brown Sugar - one wonders if she realized that was also the name of a Rolling Stones paean to the supposed benefits of sex with black women, but no matter. This demeanor of not standing is what depicts the core attribute of Teeth of the Sea, their utter unwillingness to be pigeonholed. The idea of the Columbia Icefield takes on the resonance here, perhaps more than the thing itself, in Wooley's search for expressing something large and intensely other. I think that's backwards, at least for roots music.
Jeb Bows' distant violin serves to highlight the Shook Twins' easy skill in a high vocal register while Nash struts on a clavinet, an electrically amplified clavichord. She put so much into the rehearsal and it was so good, that we just saved that performance. But I don't know if comfortable is the right word. Definitely worth checking out, better than their last effort. And it is through playing with Motian that Lovano collaborated with Crispell. He still remembers the places where he lived, worked and played, and the many friends and figures who shaped his life.
This can be best understood as displaying different aspects of the same individual, but it doesn't quite come across that way. This band both rises to the occasion of such lyricism and goes beyond it. Some tracks even anticipate ambitious strides that Japanese composers would make in the realm of early video game music. A deeper dive into the lyrics, though, lets us know that a few tears probably fell into the pan, creating an angsty sizzle, before the final product hit the plate. The pairing with Lovano, then, always makes sense: he has always played with daring but also a sense that his audience must be engaged. Lovano outlines a floating melody as Crispell plays airy, arpeggiated harmonies as accompaniment. The Apollo is at times a literal home for these performers.
They are getting more and more country rock. The collection opens with Jim Peppler's iconic image of Fannie Lou Hamer singing during the 1966 March Against Fear. No two listens are the same as every listen reveals another layer, another sound or another emotion that draws you in. However, her apathy is not the track's focus. Full of the puzzling dualities and dichotomies of being, heightened by a spiritual reverence for nature with melancholic mournful passages stimulated by energizing breakbeats and hooks cultivated from the sounds of nature. From there each piece is swept up by a swirling sonic wind, unrecognizable from their previous form.
Taking their wealth of experience of composing production music for films and video games and their understanding of sound design, they use sci-fi sound design as a means of exploring the minimalist structures of trap and grime. She was the only drummer who was always there! Some of the artists featured on Kankyō Ongaku are central figures of contemporary Japanese music. Only a third of the way through the 20-minute track does his horn become recognizable, blowing snow in a truly eerie place. Even in the more subtle moments of this record Marsh still finds the space to experiment with the narrative, something that results in a stream of consciousness performance that arrives in a free-flowing manner. Literary leaders like Ta-Nehisi Coates have their own featured nights at the Apollo. I got to know him in the '80s, when I was a teenager. It's intense yet serene, with subtle but purposeful modulations in the arrangement that keep it cryptic and enthralling.
She sees the good and bad around her. While retaining a strong electronic foundation, the focus is on the psychedelic aspect of the music, the core attribute of Teeth of the Sea, and so they deliver a strong, final trip leaving you amidst a haze of sounds and images that are bombarding you from all directions. They are a true American band, not just in the sense of the influences they reflect or the genres they are capable of performing, but also in their sense of attention and detail to the craft. Blitzen has a way with melody and this album is solid with it throughout, though especially through the first 4 songs. Underscoring the distinct Texas feel, Dustin Fleming's guitar moves from a punk rumble to a country twang. I liked it, and have purchased all their subsequent albums.
The Shook Twins' illustrate their willingness to take musical gambles. It's like an introspective and melodic club track. Those ladies can really transform a space. Yola later lived homeless in London before working as a writing and performer, with groups like Massive Attack and Phantom Limb. Because we all came from much smaller places and then we moved to the city, which was Portland. I started playing guitar with him, we were really good friends and at this time Sharde was just a kid. The 11 songs here present a chilled out vibe, without much variation in tempo or style.
The song echoes with resonance and mood and her vocal delivery growth in strength while evoking a true distance in line with its title. No wonder this thing still looks so good. And it is through playing with Motian that Lovano collaborated with Crispell. . She plays a spare written melody with the fewest possible notes: a single-note line accompanied by quiet dyads that are rung every other measure at most. As the piano takes over from Lovano, he doesn't disappear but just moves into the background as Crispell's lines become subtly more prominent. They meld the punk sensibility with a Tejano response.
Mercury Rev maintain the essential blues character of the song. The past is past, the present is hard to define, but the future is coming, and it just may be awesome. As a collective, Vandoliers musically thread the two genres together. When that one thing is done there for decades and decades it's like there's a path there. The Cotton Club and the Jazz Age of the '20s gave voice to Duke Ellington, Fats Waller, and Cab Calloway. But, this melancholy reaches its crescendo when the closing track arrives.