This one came to me fairly early in the year and was an immediate favorite. It’s full of jagged guitar lines, weird drum fills, and plenty of power equal to the cosmic cover imagery.
Speaking of heavy cosmic riffs, this album from Auralayer is full of them and plenty of Buddhist philosophy to boot. This trio about floored me when I first heard this album and were one of my favorite discoveries of the year.
Would it be a “best of” list without a King Gizz album? I mean, they release at least two albums a year, and this year they released an electro / krautrock album full of synths and drum pads that turned out to be a fun time. You can tell they enjoyed stretching muscles they don’t often use, and they filled it with references to Egyptian mythology, which just made it weirder and cooler.
Yes, that’s the same cover image, and it’s almost the same album, but KGATLW decided to release two versions of the same record, with the extended version having long mixes with additional lyrics for each song – the short of which is just under eleven minutes long. It’s even better than the regular edition of the album and lets them do lengthy synth-jams that often move into rave territory.
Speaking of long synth-jams, Ki Oni‘s tribute to his deceased grandmother and his meditation on peace and death has tracks with minimum lengths of seventeen minutes, and all of them are beautiful. This is the kind of record that takes you away from anything you’re doing and drops you into a warm pool of peace and presence.
Who’s in the top ten? Come back soon and find out!
This is a techno EP based on the mythological tale of Jason and the Golden Fleece. I don’t know what else to write to make you keen on hearing it than that.
This unearthed, previously unreleased live recording of Motörhead destroying a jazz festival is nothing short of outstanding. They were firing on all cylinders during this tour. Count yourself lucky if you saw them in 2007. If, like me, you never got to see them live, this gets you close.
Rich Aucoin has a cool gig. He gets to collect and play with vintage synthesizers, arpeggiators, sequencers, and organs and make albums with them. This second volume of such music sounds like it was recorded yesterday with new gear. It’s full of dance tracks, ambient cuts, trance beats, disco riffs, and more.
Now that 2023 has passed us, it’s time for my annual countdown of some of my favorite stuff of the previous year. Who made the top 25? Read on and discover!
#25: Cavaran – Nights at Josan
Named after a bar near their recording studio they’d frequent after recording sessions, Belgium’s Cavaran returned with a solid record of desert / stoner rock that was a badly need dose of rocket fuel into our collective veins.
#24: Gimenö – Movement Remixes
Just like 2022, there was a lot of good EDM released last year, and this album of remixes by pals of DJ / producer Gimenö was among it. There isn’t a bad track on here. It’s all floor-fillers.
#23: Big Miz – Where I Belong
Another excellent EDM EP, this one from Big Miz on the Homage label. Miz combined house with trance and does it with subtle, slick skill.
#22: Bodywash– I Held the Shape While I Could
Shoegaze made a fine return this year, and that makes me happy – as did this cool record by Bodywash that bathes you in guitars, reverb, and clove cigarette smoke vocals.
#21: Eaves Wilder – Hookey
Another fun EP, this one about break-ups, screw-ups (in the world of mental health care), and drink-ups. Eaves Wilder might be “the next big thing.” Get in on her stuff now and become one of the cool kids.
Who makes the top 20? Come back tomorrow to find out!
Thanks to all who listened to the first “Mystery Monday” show of 2024 on WSND. It was three hours of electronic dance music to kick off the new year. Here’s the set list:
Stephen Buono (by Matt Gribben) / Finom (by Alex Viscius) / Nels Cline / Ricardo Dias Gomes
Last month, Church Chords announced their debut album, elvis, he was Schlager, set to release on February 23rd via Otherly Love Records.The collaborative recording project led by musician/producer Stephen Buono brings together accomplished musicians from his time spent in Philadelphia, New York City, Chicago, and Los Angeles, to create music that honors experimentation and collaboration.
Today, Church Chords returned to share “She Lays on a Leaf,” their avant-pop krautrock featuring guitar from Nels Cline (Wilco) and vocals by Finom‘s Macie Stewart and Sima Cunningham alongside Ricardo Dias Gomes (Caetano Veloso),who also penned the song’s lyrics.
When asked about the track, Buono shared more about collaborating with Cline: “For this song, I asked Nels to imagine John McLaughlin playing the opening guitar solo on ”Mother Sky” by Can. I think the solo on the alternate version is one of his best on record. It is such an integral part of the song that I gave him writing credit. On the album version, I love how co-producer John Herndon synthesized the solo to sound like I don’t know what.”
The story of elvis, he was Schlager, begins ca. 2016 in Chicago where Buono had relocated after four decades as a Philadelphia area resident, who frequently traveled to New York in his 20s & 30s soaking up the scenes at Tonic and The Village Vanguard. In Philly, in addition to his ubiquitous presence at a multitude of performances, Buono notably volunteered for the renowned avant garde presenter Ars Nova Workshop and put on his own live events at a series of West Philadelphia spaces. He also founded, wrote music for, and played guitar in the post-punk outfit, Split/Red, which BrooklynVegan called “Beefheart-ian….punk with an unbridled, avant-garde antagonism.”
Deeply embedded and inspired by the fertile music scene in the Windy City, where he moved at 38, he wanted his first Church Chords album to be fully Chicago-centric, using only locals. Buono oversaw a session at Steve Albini’s famed Electrical Audio that attempted to, as he puts it, “synthesize ‘electric-era’ Miles Davis with Black Sabbath.” A laudable experiment that he felt was ultimately a failure, opting to stick it in his back pocket for re-evaluation later on.
In Fall 2016 Buono relocated to Los Angeles and, a year to the day after his Electrical Audio session, dusted off the shelved material in a session with bassist Devin Hoff (Julia Holter, Sharon Van Etten), percussionist John Herndon, and multi-instrumentalist Ben Boye (Ty Segall, Bonnie “Prince” Billy). The trio laid down new rhythm tracks for six songs from the original session — a 35-minute continuous improvisation that changed the dynamic and structure of the work. In addition, Buono produced an additional 4 songs from tracks laid down by Chicagoan multihyphenate Jim Baker on ARP2000. Elliot Bergman (Wild Belle) produced one of these songs, “Recent Mineral” aka “Renda,” which has versions in both English and Portuguese.
For the next little while, Buono started massaging this mass of material into shape alongside co-producers in the vein of a hip-hop producer. As he did, more voices and players from an equally vibrant L.A. scene were folded into the proceedings. Among them, keyboardist Sam Barsh (Kanye West, Kendrick Lamar); guitarists Nels Cline, Jeff Parker (Tortoise), Mark Shippy (US Maple), Brandon Seabrook; horn player Josh Johnson (Leon Bridges’ musical director); percussionist Kenny Wollesen (Bill Frisell, Tom Waits); and Nate Walcott (a multi-instrumentalist known for his work with Bright Eyes, Red Hot Chili Peppers, and Phoebe Bridgers).
It was at this point that Buono made some crucial decisions related to the album and the Church Chords project as a whole. The biggest was that he opted to lessen his contributions as a performer; to instead take on the role of a producer in the mode of Teo Macero or a member of Public Enemy’s Bomb Squad. He would be directing the sessions and helping finesse the finished product but otherwise staying out of the musicians’ way as they wrote lyrics and improvised.
As well, Buono decided early on that the material he was conceptualizing for elvis, he was Schlager needed vocals, and lyrics. Through his many connections in the community, he became friends with Ricardo Dias Gomes, a Brazilian artist who has worked with the likes of Caetano Veloso and Arto Lindsay. Initially, Gomes was going to contribute lyrics to a single song, but as he heard more of the music, he was inspired to write words for the majority of the tracks. Also making vital contributions were multi-instrumentalist/producer Matt Mehlan, who wrote “Warriors of Playtime,” a powerful song written in the wake of George Floyd’s murder; and old friend Kristin Slipp (Dirty Projectors, Mmeadows) who contributed words and vocals to “Alone, Under The Water” and several others.
Gomes, Slipp, and Mehlan’s lyrics were treated with immense care and compassion by the people Buono tapped to sing on elvis, he was Schlager. As with the rest of the album, the vocalists are an array of jaw-dropping talent from Genevieve Artadi, here singing in Portuguese for the first time on record, Brazilian Thalma de Freitas (Kamasi Washington, Madlib), electropop genius Takako Minekawa to L.A. dynamo zzzahara (the Simps) to the avant pop group Finom (f.k.a. Ohmme) to Ako Castuera, an artist who worked behind on Adventure Time.
The number of contributors and the storyline behind elvis, he was Schlager, is a little dizzying to comprehend. And it may sound like a recipe for a mess — a situation with too many cooks. But thanks to Buono’s steady hands guiding each step of the process, the album is a complete, cohesive statement. An exploratory, daring, and engaging expression of music’s transformative power. A mood piece that flows steadily and smoothly from vibe to vibe, guiding the listener through each melodic twist and rhythmic turn.
Keep your mind open.
[Lay your e-mail address on the subscription box while you’re here.]
