In a better, or at least fairer world, the artist known as BROTHER JT would be a big star instead of a cult figure revered by record geeks like myself, and musician types. Who knows, in some sideways universe perhaps he is, but it’s certainly not in this one. After getting his start in the 1980’s with garage legends The Original Sins, JT was rechristened Brother JT by legendary rock scribe Byron Coley. From there, he set off on his own long, strange path. Continue reading “Brother JT – Tornado Juice”
Content Nausea is PARQUET COURTS’ second album of 2014. Credited to the group’s alter ego, Parkay Quarts, the album is mostly the work of members Andrew Savage and Austin Brown along with some instrumental assists from Jackie-O Motherfucker’s Jef Brown on saxophone and Eaters’ Bob Jones on fiddle. Continue reading “Parkay Quarts – Content Nausea”
THE PAPERHEAD’s latest album, Africa Avenue, is definitely one that makes no bones about what is spinning in these guys’ collective wheelhouses. I’m picturing worn out copies of Kinks, early Pink Floyd and Love albums by the score. Continue reading “The Paperhead – Africa Avenue”
The ghosts of an Old Weird America hover in the atmosphere above STEVE GUNN’s achingly beautiful album, Way Out Weather. From the sustained spectral guitar slides and the groping in the dark piano figures that start the opening track, it’s clear this is a record that’s all about the search.
Continue reading “Steve Gunn – Way Out Weather”
It’s an album that begins with a beating and ends with a suicide. SUNN O))) and SCOTT WALKER’s collaborative album, Soused, is certainly one that’s drenched with the heavy feedback layers of Scott’s new robe-wearing doom-metal compatriots. Continue reading “Scott Walker and Sunn O))) – Soused”
Former Woods bassist and Babies’ frontman KEVIN MORBY’s second solo album, Still Life, is a rugged collection of searching, heartbroken, NYC-inspired tunes that from first listen sound instantly familiar. Continue reading “Kevin Morby – Still Life”
The story of Memphis’ BIG STAR is a tragic and ultimately triumphant one – a group that managed to conjure transcendent rock music in the face of bad distribution deals and commercial indifference. The story of Big Star’s rise from obscurity to posthumous cult fame is a tale that’s now oft been told. For the uninitiated, 2012’s documentary Big Star: Nothing Can Hurt Me is an excellent place to start (add it to your Netflix queue, if you haven’t already). Continue reading “Big Star – Live in Memphis”
WAND are yet another group in the latest of bumper crop neo-psychedelic wunderkinds. Their debut album Ganglion Reef is like some kind of genetically engineered and overgrown mutant pumpkin. From just the right sprinkling of Barrett-era Floyd to the chugging Blue Cheer-isms, it’s an album that sticks the landing on more occasions than not. Released on Ty Segall’s now established GOD? imprint (which is available via Drag City), it’s a driving and at the same time cosmically-inclined set of songs. Continue reading “Wand – Ganglion Reef”
Television Man, the latest from Olympia, WA’s NAOMI PUNK settles into a dark groove as soon as the needle drops – the kind that doesn’t really let up until it’s over. Continue reading “Naomi Punk – Television Man”
Phiadelphia’s own NEEDLE POINTS have been kicking around the City of Brotherly Love for a couple of years now. Dressed up like they just stepped out of wormhole from San Francisco circa 1969, the self-described “Psychedelic Street Level Boogie” band have just unleashed their latest single released on the venerable Brooklyn-based PaperCup Music imprint.
Continue reading “Needle Points – Cripple Street 7″”