New Album Coming from One of My Favorite Artists on My Favorite Record Label.

As you may know, I have a Modern Love addiction. The Manchester label has been running my life for the past few years, and I've just come to accept it. Their somewhat commercially successful artist is Andy Stott. His last album, "Luxury Problems" was my favorite album of 2012.

The new album (Nov. 17) is to be a similar outing in aesthetic, but will include some vocal pop structure more traditional than on the last record. The press release states: “straddles analogue club music and vocal pop songs, somewhere between Ron Hardy, Prefab Sprout, Dome, Actress, Cocteau Twins and Arthur Russell.”

I'm enjoying the sample track. See what you think:

HTRK - Psychic 9-5 Club (Ghostly International, 2014)

So I'm a longtime fan of this band. I adore them. I can't praise them enough except to say that their new record exceeds my expectations. The aesthetic hasn't changed much but the drum programming and overall recording techniques have drastically improved. This is a seductive, sensual, and gnarly record of bass, synth, guitar and beats, mixed with equal parts heartache and longing. I absolutely love it.

You can read my review of a previous album as well as my in depth description of them HERE  and stream a playlist of this record here:

Black Marble - A Different Arrangement (Hardly Art, 2012)

Here's a group that's been winter therapy for me lately. Black Marble is a 'minimal wave' revival act from Brooklyn. They play post-punk style synth meets early Human League experiments. For the Brits: Tiny Mixtapes described it as "looking out at Manchester from your bedroom in Sheffield". Melancholy vibes with a French coldwave delivery sans suicide. There's a lot of positivity here if you sift through the Roland fog.

This is a fun record. Classic drum beats. Driving punchy bass lines. Fast tempos. Dance alone reading J.G. Ballard with a spot of Earl Grey. 1982. Minimal mascara.

Vaadat Charigim - The World is Well Lost (Burger, 2013 - CS)

Maybe its too soon for this here at The Nomadic Subject as we're really just getting into the thick of winter but I didn't want to forget this one. Vaadat Charigim is a great new shoegaze band with a cassette out on Burger Records (the vinyl was just issued somewhere as well). Its a classic shimmering dream pop sound (heavy on the Ride, light on the MbV), with that hopeful vibe that usually hits me in early spring. This combined with a bit of dark new wave a la 1985 The Chameleons / Echo gives them that 'cruising with the top down' feeling.

So, you're wondering what distinguishes them from the million plus shoegaze revival bands, right? Well, its the fact that these guys are Israeli, and the low baritoned vocalist does not try to hide the accent. Its thick and lovely. If you're not familiar, it sounds like a French accent with Spanish, Arabic, Russian and Yiddish. As far as the voice as instrument, this one wins. Perfect package here. Great music when you need a little pick me up.

HTRK - Work (Ghostly International, 2011)

One of my favorite musical scenes was created by the Mancunian crew of the 90's in Bristol UK. "The Wild Bunch", consisting most importantly of Massive Attack and Tricky, were highly influential with their groovy 80 bpm breaks and blunted rock meets dub aesthetic. Tricky took things down an increasingly darker path with his albums 'Maxinquaye' and one of my favorite albums, 'Pre-Millenium Tension'. The vibe is so spliffed on the latter that paranoia gets the best of the protagonist. Hallucinations or even actual acts of aggression and fear ensue, charting territory that, given his particular musical production, was unparalleled in pitch black narrative.

HTRK is similar to Tricky in many ways. Their delivery system just happens to be narcotic in nature. The dub basslines are there, backed by tastefully subtle 808 beats, various synthesizers and swirling ambient guitar. The concept is an original pastiche of Lynchian imagery, proto-punk and post-industrial.

The now duo (bassist Sean Stewart having committed suicide in 2010), intentionally blur all lines. Jonnine Standish's vocals are subdued, to the point of lyrical irrelevance (which I admire). The music itself is an existential road to nowhere. There aren't even really songs, merely moods of doubt and doom, sensually shared by a deceptively charming junkie siren.

To be quite frank, albums don't matter here. Any place is a good place to start. Again, its all a seductive coldwave psychosis. I'd gladly follow her down into the sea.

R.I.P. Phil Everly

One of the purest and most honest sounds pop music has ever offered us was created by the Everly Brothers. Half of that equation has passed away today. Phil Everly is dead at 74. So much of my childhood was shrouded with his presence. Family roadtrips always included cassette tapes with his music. I occasionally get one of his songs stuck in my head and I never mind. Thanks, Phil. Our thoughts are with you, Don.

Coil - Colour Sound Oblivion Disc 15 &16 (Threshold House, 2010)

So there's this box set... 16 DVD's of amazing. Coil is my favorite modern music act. The closest to my heart. After Jhon Balance passed in 2004 and the band was obsolete, Sleazy released this incredible document. Its 14 DVD's of live shows anywhere from 1983 to 2004, culminating with 2 DVD's that contain the visual projections from these shows accompanied by the studio versions of many songs (a greatest hits, as it were). Most importantly, there is over 5 hours of music.

You can download these 2 DVD's for free and legally HERE or just stream them on youtube below. Enjoy. Sheer bliss...







Last note: Its fun to check out the ones for sale on DISCOGS. They sell for a mere $2069.68

Unknown Mortal Orchestra - II (2013, Jagjaguwar)

This album hit me hard. Though, I really wish my first listen had been after dropping a needle on the platter. A band this steeped in nostalgia deserves the courtesy of analog listening.

Unknown Mortal Orchestra evokes a distinct 70's FM radio aesthetic. Their recording is lo-fi but they've thoroughly mastered that sound. With a classic American psychedelic fuzz and funk vibe, a bit of Shuggie Otis, and a hint of the old Kraut sound a la Guru Guru / Frumpy / Birth Control, they deliver it with the expertise of contemporary revivalists, Dungen.

It should come as no surprise that the mastermind behind this project is a New Zealander. Ruben Nielsen must have been heavily influenced by the famous psych fuzz legacy of his own nation's crucial label, Flying Nun.

UMO - II is heavy yet fun music. Its definitely going to play a part of my upcoming spring / summer rotation. Thanks Catherine db.




Read full review of II - Unknown Mortal Orchestra on Boomkat.com ©

Jaye Bartell - Elation EP (Self-Released, 2013)

There are some musicians that cannot be casually heard. And background listening just will not do with the music of Jaye Bartell. His is an ethereal sounding folk aesthetic with a misleadingly simplistic charm. And if your lazy ear is not careful, the result may be a plague upon your house. This haunting baritone vocal and its poetic delivery derives more from literary sources than musical ones. Combined with the slow and pensive song structure, the overall feel calls many ideas to mind. There is anything from romance, beauty, trust and hope; to fear, envy, sexuality and violence. That elaborate conflict is the very essence, and why his music holds such a mystique. This is outsider folk with an original approach.

Along with his own guitar, vocals and drums, Jaye is joined here by J Seger on piano and drums. Look for a full-length LP coming this summer on Headway Recordings.

For information on purchasing this and other albums, visit Pilgrim Bandcamp

New Release on my Record Label. Villages - Music for Savage Flowers (Headway Recordings, 2012)

Emeralds - Just to Feel Anything (Editions Mego, 2012)

Emeralds is its own thing, a sound you can pinpoint immediately. This Cleveland trio of John Elliot, Mark McGuire, and Steve Hauschildt "re-pioneered" the arpeggiated synthesizer concept. They inspired thousands of kids to go out and find their own thrift store analog junk, making synths and keyboards more popular than the guitar. But what's equally impressive is the signature electric guitar sound of Mark McGuire, which, I feel, is the best part of this new record.

Whereas prior Emeralds outings worshiped and emulated pioneers of experimental electronic music, this one seems to be their take on late 80's / early 90's action film scores. Boomkat called it arena rock but I feel as though its an unconscious homage to the more upbeat Harold Faltermayer and Michael Kamen (Top Gun, Lethal Weapon, respectively). Yep, upon first listen, its Friday night at the movies. Further in, you recognize some of the other influences, Tangerine Dream and 80's Pink Floyd.  But, here's the thing that's so great about this band: After a few minutes, you forget about this tribute idea, you get sucked in and realize that its actually original material, solid in its own right. All three of these players are brilliant and creative musicians having fun but composing subtly innovative pieces. Many people are attempting these ideas these days, but no one can touch Emeralds.




Read full review of Just To Feel Anything (Vinyl Edition) - EMERALDS on Boomkat.com ©

F.J. McMahon - Spirit of the Golden Juice (Private Press, 1969)

Last week I stumbled across this gem. Since I'm always looking for a particular softer side of psych / folk / country / pop vibe (particularly of the outsider vibe) , I'm quite excited about this man's music.

McMahon returned from a tour in Vietnam with something to say. He recorded this, his only output, a masterpiece for some reason swept under the rug. What's presented here is a mesmerizing voice singing plaintive, melancholy and romantic lyrics. He plays somber minor key guitar tracks, accompanied by bass and a delicate yet strong drum kit.

This is an extremely underrated, one off album that should no longer be slept on. Fans of Tim Hardin, Jim Schoenfield, Scott Walker, and Rodriguez would be wise to snag this.

Oh, and in case you're wondering, "The Golden Juice" is the name of a bourbon.



Get it HERE

And order the LP re-issue over at Sacred Bones HERE

Miracle of Love (Bathetic Records, 2012)

Asheville, NC experimental / pop / drone label Bathetic Records has just released a compilation of recent and upcoming tracks from artists like High Aura'd, Villages, Merryl and William Cody Watson. Its a really nice cross section of a diverse and engaging record label.

Listen on Spotify and download on Itunes

Jozef van Wissem and Jim Jarmusch – Concerning the Entrance Into Eternity (Important, 2012)

I must admit, its been many years since I’ve been really pleased with a Jim Jarmusch film. I was an obsessive fan of his work in the 80′s and 90′s. From Stranger than Paradise all the way through Ghost Dog, I anticipated each release. Although I don’t care for his film work these days, I was excited to hear about his musical endeavors with the Dutch Lutist and composer, Jozef van Wissem.

Most might be surprised to hear that this is not Jarmusch’s first musical outing. It is a continuation of the work he did with Wissem on last year’s The Joy That Never Ends album. Not only that but he was keyboardist for the understandably ill-fated early 80′s New York art punk band “The Del-Byzanteens”. Knowing the latter, you may question his musical abilities, but due to his outstanding curating of his own film scores as well as ATP 2010, I do not.

Jozef van Wissem has been releasing albums for the past twelve years. He is known for a conceptual and minimal style of arcane and non-linear progressions that bridge a gap between 17th century ideas and the improvisational and cut and paste tactics of the now. Specializing in experimenting with Baroque and Renaissance forms, he somehow never compromises the traditional sound of the lute, and this is the most impressive aspect of his formula.

All that being said, how did he end up playing with Jim Jarmusch? Was it a marketing tactic or a stunt? Not in the least. Jarmusch is a competent and interesting minimal guitarist. The duo calmly work through five lengthy numbers on this record. Baroque sentiment, warm pastoral folk tomes, strong yet unspoken themes of meditation and even a track with the droning and distorted electric guitar weave a quilt of spirituality similar to the Zen ideas presented in Jarmusch’s classic film, Dead Man, yet, this time around, the Zen is replaced with a similarly subversive religious element, Gnosticism. Three titles are named after Christian mystic Emanuel Swedenborg’s work. In fact, the closing track contains a reading that seems to summarize all of the ideas they have instrumentally presented.

“He is hanging by his shiny arms, His heart an open wound. Set your eyes on the cross, Set your tongue to speak of his passion.”

Get it Here

This article originally appeared at: Adequacy.net

V/A - Pomegranates: Persian Pop, Funk, Folk and Psych of the 60s and 70s (B-Music, 2010)

Finders Keepers has impressively researched the exciting and turbulent political times of Iran's 1960's - 70's. The compiler, Massha Taghinia is an American born of Iranian parents and many of these tracks come directly from his mother's record collection. Because of this connection, we receive a rare glimpse of the superstars of that country's Pop, Folk, Funk, Proto-Disco and Psych. Not only is every track delightful but the overall experience is enhanced by the idea that all of this music happened under the Shah's reign. A curious experience ranking with Sublime Frequencies collections of rock n' roll tracks from Cambodia during the period under the Khmer Rouge. We are privileged this has have fallen on Western ears.

Get it Here

Erik Skodvin - The Sickening (Mixtape for Type, 2011)

When label boss Rik Skodvin isn't slaying my brain with his own Miasmah imprint, he's slaying my brain with his friend Otto Totland as "Deaf Center", and sometimes he slays my brain with his solo project "Svarte Greiner. Here is a mixtape he did for Type. Sit back, relax and enjoy this voyage to the bottom of the drone-colored abyss. Cheers.

Don't forget there's a free download option.

Get It Here

tUnE-yArDs - WHOKILL (4AD, 2011)

Yes, the name looks absurd. That’s because this is a soundtrack to the theatre of the absurd. The calculated cacophony of Oakland songstress and producer Merill Garbus is some of the most oddly attractive yet puzzling music I’ve heard recently. No wave / post-punk / indie / dance pop that Laurie Anderson and the ghost of John Cage would drunkenly dance to.

The first track verbally introduces us to the character that she is, an anti-diva, anti-M.I.A and anti-inhibition personality with impressive instrumental talent and an incredibly commanding vocal range and presence. A sort of “I am awkward, hear me roar’ mystique. Gifted and unbelievably different, she dispels any attributes of her initial outing Bird Brains.

The first four tracks, “My Country”, “Es-so”, “Gangsta” and “Powa” bang out bizarre but rocking dancefloor numbers. Then with “Riotriot”, she eases into a delicate ballad that seems timely, only to twist the mellow vibe a couple minutes in, creating some kind of psychological carnage.

“Bizness”, the proverbial hit of the record, showcases a beautiful horn section with a very soulful and passionate vocal delivery.

“Doorstep” delivers with one of the most avant-garde vocal cuts on the album. “You Yes You” is essentially a cryptic funk track complete with discordant electric guitar rhythms.

Then there is is finally rest for the weary listening traveler. “Wooly Wolly Gang” is a somber and sweet lullaby admirable for its simplistic line-up of vocal track, acoustic guitar and drum machine, but one that still has a haunting and somewhat disconcerting nature, in keeping with the rest of the record.

Wrapping things up is “Killa”, a peppy and positive fly-girl number that reaffirms Garbus’ female confidence and audacity, one that again confuses by feeling as if its as comfortable in the Caribbean as it is in the club.

African pop, funk, R & B, and jazz are all homogenized with honest acoustic folk pop; however, the lyrical material is ripe with extremely relative themes of self-image, race and gender issues. She takes nothing as lightly as it sounds. This is heavy and intense music that I find difficult to call pop. She deserves better.

This post originally appeared as an article I wrote for Adequacy.net

Get It Here

Or:

Harry Nillson - The Point! (RCA, 1971)

This is the town and these are people of Harry Nilsson's “The Point!” This album is the story of Oblio, a young man with no point. You see, the town in which Oblio lives, everyone has a point on the tops of their heads and everything in the town has a point; literally. So, the story is a classic tale of bridging differences as Oblio is banished to the pointless forest that surrounds the town due to his lack of having a point in order to ultimately find that everything has a point.

So to get to the point, American song writer Harry Nilsson creates a fantastic world of imagination that mirrors our own reality. In the mid to late sixties societal norms were starting to change and the point was to offer a perspective that allowed American culture to reflect on the functionality of individuals and their value they offer, no matter the differences. Anyone who is familiar with the voice of Nilsson knows the power and clarity of his use of melody and harmony rivaling the best of vocalists. And some say there has not been such a singer since. The entire album is a dreamy, smooth piano pop piece that is laden with strings and 60's orchestra sounds. As the good humor and contemplative feeling of reflection drifts up and down like a lullaby, Nilsson intermittently pops in with the narrative of the story.

“The Point!” was later made into a musical play and an animated film. The album has Nilsson providing the voices for all the characters involved, which gives a sense of old school story telling as if kids were sitting in a semi-circle around grandpa imitate and contort his voice to match the characters. And as the story seems a little elementary, the simple yet perfectly portrayed cast of characters combined with the angelic voice of Nilsson, deliver a well satisfying dose of comfort. Many have grown up listening to this album or watching the animated version during their childhood. I had only been turned on to this piece about four years ago and as an adult and first time listener, I was able to fully appreciate every narration and song on the album, thus having Harry Nilsson's “The Point!” still be a valid one.

--Sean Dail

Get The Point! Here

The Legendary Marvin Pontiac's Greatest Hits (2000, Strange and Beautiful)

This son of a father from Mali and a Jewish mother from New York wrote many classic songs while in and out of mental institutions. Sadly, he died mysteriously and his vast repertoire was minimally documented. At least, that's what the liner notes to this album would have us to believe. In reality, however, none of this is true. This is an amusing tall tale spun by the inimitable Lounge Lizard himself, John Lurie.

Lurie is a living legend. He was instrumental to the high art culture of the late 70's / early 80's downtown New York City scene. His renaissance man style creative output put him in the limelight; playing cool music, painting and popping up in the hippest films. His charming personna and brilliant sense of humor is irresistible and has always greatly appealed to me.

With this ridiculous moniker, he recorded songs in the trash can blues style made famous by Tom Waits. Although I draw comparison here, this is not knock-off material. He created a pastiche of Jazz, Soul, Blues and even World beat. The finished product is an accessible Pop record with a Leonard Cohen-like vocal style, an all-star backing band (John Medeski, Calvin Weston, Marc Ribot and Steve Bernstein, and lyrics that are as poignant as they are hilarious. There are rocking tunes and thick grooves to boot.

Its been speculated that these are just smoothly arranged versions of songs originally written for the Lounge Lizards project that just didn't fit the mold. Either way, download it and forget its Lurie. Believe in the character that is Marvin Pontiac and you'll have a damn fine time.

Get It Here

Or:

WIRE - A Bell is a Cup Until it is Unstuck (1988, Mute)

Of course, every hipster loves Pink Flag, Chairs Missing and 154 but what's little known is that WIRE has had many recordings that have fallen through the cracks in coolness. This is a seminal record that made a huge impact on the U.K. Pop vista, an important transition for the band as they tossed aside the Punk elements and embraced a candied Pop direction. Don't get me wrong, ABIAC is still angular and obtuse and the themes are incomprehensible but the structure here is accessible. It definitely influenced many of the bands in the Brit-Pop explosion that followed in the early to mid-90's.

There are actually songs on this album that could have been featured in a John Hughes movie. So, turn off the cerebral listening factor, put the top down and just drive.

Get It Here

Or: