Aluk Todolo, “Occult Rock” (Ajma, 2012)
Really interesting group from France; this is real metal (as opposed to heavy noise-rock), but so purified and abstract that its grand sound-monoliths have an art-drone quality that’s naturally their own.
Try CD1: 1; CD 2: 3.
1/13/13
Angel Olsen, “Half Way Home” (Bathetic, 2013)
Continues in the vein of Olson’s lunar, quavering psych-folk magic. Doesn’t quite reach that fever pitch of almost form-destroying solitary intensity her last one had, but the songwriting extends even wider and deeper this time.
Try 4, 6, 7
7/29/13
Angel Olsen, “Strange Cacti” (Bathetic, 2011)
This cool record creates a veil of mystery over Ms. Olsen’s blurry, strummed acoustic music – reminiscent of acid folk but more abstract. But the really distinct calling card is Olsen’s wailing, near-atonally frayed vocals on some of the tracks. In an alternate universe where Jandek was Garth Brooks, Olsen would be Taylor Swift.
Try 1/1, 1/ 3, 2/1, 2/3
10/22/11
Arch Hall Jr. And The Archers, “Wild Guitar!” (Norton 2005; original recordings 1959-1964)
Hall Jr. was the male lead in some of his dad’s ultra-low-budget drive-in-movie classics, like “Eegah!”, the tale of a misunderstood teenage caveman, and Jr.’s music often provided the soundtrack to the action. Unlike dear old dad, however, Arch Jr. was highly adept at his chosen medium. He was an avid scenester at L.A.’s black r&b joints, and a crude but raucous and effective guitarist. This is prime pre-psych garage stomp.
Try 5, 14, 22, 23
11/10/16
Al Green, “Call Me” (Hi, 1973)
Lot of people think this is the last great Golden Age soul man’s best LP, and I’m one of ‘em. The Hi house musicians put out a shimmeringly calm pulse that reaches its height of sublime late-night mystery, and Green’s vocals don’t so much rise to the apex of passion as gently appear there, as if by magic.
Try 1/ 4, 2/ 2, 2/4
7/11/18
Alec R. Costadinos, “The Hunchback of Notre Dame” (Casablanca, 1978).
Mind-boggling disco “adaptation” of the Victor Hugo chestnut; mostly instrumental aside from thrillingly hammed-up, mystifyingly out-of-context occasional dialogue, but the audaciously melodramatic, wildly baroque music, driven by an elegant yet relentless pulse, imposes a peculiar narrative force of its own.
Start with 1/1.
11/12/12/
Alicia Bridges, “Alicia Bridges” (Polydor, 1978).
Good ‘70s femme-rock (cf. Terri Garthwaite/Bonnie Raitt) sprinkled with great disco, kinetic, effervescent, shimmering. 2/1.
11/12/12
Antena, “Camino del Sol” (Numero, 2004; original release Les Disques du Crepuscule, 1982)
French combo that blended synthesizer post-punk with ‘60s tropical sophisto-pop à la Astrid Gilberto. The result is somehow lush and minimal, off-kilter and hypnotically fluid, all at the same time, utterly bewitching in its sun-dazed, elliptical elegance.
Try 1, 2
7/19/12
Avengers, “Avengers” (Water Music, 2012; original recordings 1977-1979).
Long-awaited reissue of studio recordings from one of the greatest first-(or any)-wave U. S. punk bands. With Penelope Houston’s rabid-Valley-Girl bark, a massive, serrated guitar sound, and some unforgettably anthemic songs, they set the standard for those who came after.
Try CD 1: 1, 4, 7, 9, 10, 12, 14; CD 2: 1, 2, 3, 4, 5, 8, 14
Avengers, “Avengers” (Water Music, 2012; originally released/recorded 1977-79)
Reissued after 20 years’ legal limbo, here’s the legendary “pink album,” worth the wait with an extra disc of great archival shit. The Avengers were one of the greatest first-wave U.S. punk bands – hell, one of the all-time greatest punk bands, period. Blazing performances of songs that instantly tattoo themselves onto your brain, and a tear-down-the-walls-of-Babylon-against-all-odds attitude, the Avengers were one of those rare bands that can raise the stakes of what you expect from music, and life.
Try 1/2-4, 1/10, 1/12, 1/14, 2/1-8, 2/14, 2/16