Daily Postings
music : interview

Will Oldham

by Gary Canino

Performance, reinvention, and alternate realities.

It might seem mysterious that Singer's Grave a Sea of Tongues, the latest album from the ever-prolific and confounding Bonnie ‘Prince’ Billy, shares nine of its eleven songs with his 2011 release, Wolfroy Goes To Town. Bonny's eleventh album, released last month by longtime label Drag City, is neither a remake nor a rehash, but more of a recreation, an attempt to build an alternative reality around the framework of this collection of songs, from the ground up.

Reinterpretation is certainly not a new approach for Will Oldham, the singer-songwriter, performer, and occasional actor. Oldham, who went by variations on Palace and Palace Brothers in the ’90s, has been known as Bonnie ‘Prince’ Billy—a sort of manifestation of Oldham’s more performative impulses—since the release of the now-classic I See a Darkness in 1999. In the intervening years, Oldham has made a practice of building complete worlds around each release, and frequently revisits and updates older material. On the 2004 album Bonnie ‘Prince’ Billy Sings Greatest Palace Music, Oldham revisited, with slicked-up Nashville studio musicians, the “greatest hits” of his lo-fi Palace years. Oldham’s work often foregrounds the layers of character and performance that other artists present as “authenticity,” while never sacrificing a core of emotional truth. In this sense, he follows in the footsteps of American songwriters from W.C. Handy to James Brown to Carol King to Bob Dylan to R. Kelly, investing his work with equal elements of poetry and theater.

Singer’s Grave a Sea of Tongues, produced by Nashville-based Mark Nevers (who has worked with everyone from Billy Ray Cyrus to the Silver Jews) presents an alternate reality view of the Wolfroy material, classic country arrangements and all. The album allows equal space for prominent pedal steel and gospel back-up vocals by the McCrary sisters, but the songs themselves stand out, more than structurally sound enough to handle a rebuild. The album also continues Oldhams’s fruitful collaboration with guitarist Emmet Kelly, who has appeared on almost all of his records since 2006’s The Letting Go. One of the few exceptions was the self-released album Bonnie ‘Prince’ Billy, a collection of new songs, performed solo with Oldham on voice and guitar. The album is available from Oldham’s Palace Records and was, notably, not released digitally.

The 2012 book-length interview by Alan Licht Will Oldham on Bonnie ‘Prince’ Billy—modeled on Cassavettes on Cassavettes—explores the development of Oldham’s various personas over the course of his career. It was also meant to ensure that Oldham would never have to do another interview. However, he happily agreed to talk on the phone about this new record, what makes a recording “definitive,” and Dick Cheney, and was a joy to talk to.

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Music : Interview

Kim Hiorthøy

by Melanie Bonajo

Scandinavian forests, psychedelic brews, and stolen Wi-Fi.

Kim Hiorthøy is an artist, graphic designer, cinematographer, and musician whose new album Dogs was released in September on the label Smalltown Supersound. In his music, Kim Hiorthøy mixes everything from folk, free-jazz, lo-fi electronics, and acid house to instrumental hip-hop and field recordings. Dogs is a beautiful, minimal departure and consists mostly of piano and ambient noise, with occasional interjections of electronic beats and synths.

Melanie Bonajo is an artist, performer and musician who, together with Joseph Marzolla, plays in ZaZaZoZo, a space, folk, tribal pop music project. In 2013, the duo released their album Inua on Tsunami-Addiction, which was recorded during the winter, in an isolated Arctic village of East Greenland. Their music and performances are inspired by places unpierced by human thoughts, erosion of the ethno-spheres, absence of history, tri-genderism, suburban rituals, magic in the space age and unrevealed yet perceivable parallel universes, like the spirit of Inua.

The two spoke over Skype about Kim Hiorthøy’s new album, the creative process, and the Internet (of course).

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Music : Interview

Chris Forsyth

by Andrew Aylward

Love, devotion, surrender, and the Phillies.

Philadelphia guitarist and composer Chris Forsyth gained initial recognition as an experimental artist with noted noise act Peeesseye. His latest effort with his Solar Motel Band, Intensity Ghost, arrives October 28, via No Quarter Records. As a performer under his own name, Forsyth has merged art rock with American blues and folk guitar idioms, all under the tent of free improvisation. The resulting music is energetic and free in its treatment of form and harmony.

Forsyth's recent, full band, records read as much as paeans to Robert Quine and Television at their most lucid, as they do tributes to Popol Vuh, the Grateful Dead, or Fairport Convention’s “A Sailor’s Life”. At its most compelling, Intensity Ghost manages to reconcile and even marry the grand, swelling gestures of the most boundary-pushing rock and roll of the ‘60s and ’70s with the melodic composition of instrumentalists such as Sandy Bull or, dare I say it, the spiritual shreddage of John McLaughlin & Carlos Santana's Love Devotion Surrender, minus the virtuosic cheese.

For Intensity Ghost, Forsyth enlisted drummer Mike Pride, bass guitarist Peter Kerlin, and organ/keyboard/piano man Shawn Hansen as the current incarnation of the Solar Motel Band.

Forsyth, who was awarded a Pew Fellowship in the Arts in 2011, talks here about his earliest musical experiences, taking guitar lessons with Richard Lloyd of Television, and how he captures his band's intense live dynamic on record.

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Music : Interview

Xylouris White

by Jem Cohen

Goats, Cretan music, and the night of the snails.

Listen to an exclusive stream of Goats, by Xylouris White, available now from Other Music Recording Company.

Xylouris White is a duo comprised of Giorgos Xylouris on lute and Jim White on drums. Xylouris comes from the village of Anogeia—famous as a fount of traditional music—on the island of Crete, and is part of a long, imposing geneology of Greek folk musicians. His father, Antonis Xylouris (popularly known as Psarantonis) is a giant of Cretan folk music and a master of the Cretan lyra. His uncles are equally renowned, and the whole family, Giorgios and his brother included, have played together in various combinations as the Xylouris Ensemble. Giorgios is well-known in his own right and frequently credited with being one of the first to play the lute as a solo, lead instrument, though he contests his role as an innovator below.

Jim White is best-known in the United States as the drummer in the Australian instrumental trio the Dirty Three, alongside guitarist Mick Turner and violinist Warren Ellis. He has also played on numerous records by artists like Cat Power and Bonnie “Prince“ Billy, and was a member of the seminal Australian punk band Venom P. Stinger.

Filmmaker Jem Cohen has a vast filmography of documentary, fiction, and experimental work. His most recent feature was Museum Hours, which premeired at the Locarno Film Festival in 2012. He has frequently worked with musicians and recently made a short concert film with Xylouris White.

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Music : Interview

Bing & Ruth

by Will Stephenson

Nostalgia for the future, bluegrass, and hating the term "minimalism."

Thirty-one-year-old David Moore is the pianist and composer behind Bing & Ruth, a Brooklyn-based instrumental ensemble whose second album, Tomorrow Was the Golden Age, will be released October 14. As with City Lake, their previous release, Tomorrow moves in pulses, open spaces, and subtle, nearly imperceptible changes in key and emotional register. Often linked to composers like Steve Reich or Max Richter, Moore similarly makes music that is radically expressive without being explicitly sentimental, imposing but never an imposition.

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Music : Interview
Music : Interview

Joëlle Léandre

by Whitney Curry Wimbish

Improvisation, instrumental music, and the political function of art.

French bassist, composer, and improviser Joëlle Léandre talks like she plays: with full-on intensity, using the whole range of her voice, offering idea after idea, drawing unusual connections, demanding your attention. She’s a nomad, she’ll tell you, and she’ll take her music where she likes. She’s a bee, she’ll say, gathering inspiration from any appealing blossom. She pays no mind to musical boundaries. Liberty is her hallmark.

When you listen to one of Léandre’s 150-some recordings, you’re struck by the variety of sounds she achieves from the double bass and the number of methods she uses to play not only the strings, but the instrument’s whole body. You don’t like it? That’s OK. As she says in her book Solo, “the object of art is to subvert, to overwhelm, to move to reflection. It’s a celebration of life. The artist is subversive, disturbing.”

This conversation took place over Skype during Léandre’s busy summer touring schedule.

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Music : Interview

Mary Lattimore & Jeff Zeigler

by Daniel Bachman

Snowbound recording with harp and melodica and the fine art of titling songs.

I met harpist Mary Lattimore in January of 2012 when I got the tip off that she needed a roommate, and I wanted to move out of a living room I was sleeping in. During the majority of the time we lived together, Mary was off the road and working on her first LP for Desire Path Recordings. The Withdrawing Room features multi-instrumentalist and recording engineer Jeff Zeigler on the first song, forging the duo that that now appears on the collaborative record, Slant Of Light, out September 23 on Thrill Jockey. I eventually met Jeff at our Fourth of July party, where he was the grill sergeant for most of the evening. Dude can cook. I’ve been lucky enough to see the duo perform a lot from early on (maybe even their first show) to now, and I’ve also toured a bit with the two of them. It’s been a pleasure getting to know both Mary and Jeff. The new album is also a complete pleasure to listen to and I couldn’t be more excited to ask them a few questions.

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Music : Interview

David Kilgour & Robert Scott

by Clinton Krute

The Clean, The Heavy Eights, The Bats, and smoking hash with Alex Chilton.

Robert Scott and David Kilgour are perhaps best known as two-thirds of the influential New Zealand band The Clean. With David's brother Hamish (who currently lives in New York City), the trio released a handful of EPs of shambling, psychedelic, and otherwise unclassifiable pop songs in the early '80s. These records were some of the first to come out of the nascent Dunedin-based New Zealand music scene, centered around the Flying Nun label, and remain among the best to come out of that movement. The band reformed in the late '80s and, since then, have put out another focused, playful, and beautiful record every few years. A compilation of work spanning their entire output, the four-LP Anthology, was recently released by Merge Records.

David's long and equally rich solo career continues with End Times Undone, his new record with longtime band the Heavy Eights. The album, out August 5th on Merge Records, is David and the Heavy Eights's first since 2011's Left by Soft, and is a further exploration of his overlapping interests in compressed pop song-forms and lush, expansive guitar music.

Robert's group The Bats have also been active since the early '80s and have produced a number of astonishingly great pop albums over the years, several of which were recently reissued in the US by Captured Tracks as part of that label's series of Flying Nun Records releases. He also has a solo album, The Green House, out shortly on Flying Nun.

Both David and Robert are also prolific painters whose work frequently doubles as album art. I emailed them a bunch of questions about painting, their solo work, history, and The Clean. The two old friends then sat down and talked them over on tape. Revelations abound.

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Music : Interview

Graham Lambkin

by Matt Krefting

Childhood memories, dinosaurs, ghosts, and "other vaguely aquatic forms intermingling."

Graham Lambkin first came to public attention in the 1990s as a member of the band the Shadow Ring. He is also an accomplished visual artist, lending his art to countless record sleeves and maintaining a steady home practice of drawing, painting, and collage. Since 2009, the London-based Penultimate Press has published four books by Lambkin, including the recent Came to Call Mine, a gorgeous book of poems and drawings described by the artist as “a children’s book for adults.” The book’s release coincided with an exhibit of the same name held at Audio Visual Arts in Manhattan, as well as with Lambkin’s first-ever solo musical performances. Twenty years since the release of his first record, we see a host of fresh firsts for the artist.

One gets the sense that Graham Lambkin sees the world through a very peculiar lens. His observations on the mundane are often startling, though rarely far-fetched. William Burroughs said of Denton Welch that Welch “makes the reader aware of the magic that is right under his eyes,” and the same could be said of Lambkin. He looks at an everyday object and sees an ocean of possibility.

The following conversation was held in my living room, spread out on the carpet, nursing a few beers, and enjoying each other’s company.

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Music : Interview

OOIOO

by Scott Davis

Nature, melody, and the primal urge to make music.

Yoshimio joined Yamatsuka Eye in the noise band UFO or Die in 1987, and, the next year, joined Eye as drummer (among many other roles) in the seminal and highly influential Boredoms. Aside from Eye, she is the longest running member of that experimental project. In 1996, she was asked to do a photoshoot for a magazine and asked a few of her girlfriends to join her. They created a fake band called OOIOO for the shoot, but then decided to make it real. Gamel, the band’s eighth album, marks a shift in their sound with the addition two new members who are both trained in the the traditional Indonesian music of gamelan.

Although she was here last year for a few one off performances, including Doug Aitken's Station to Station event last year with Hisham Bharoocha and Ryan Sawyer and a performance at Union Pool with Ikue Mori, it's been seven years since Yoshimio—who recently added the o to her name—and OOIOO have graced American soil. With a seven date tour starting on July 15 in Chicago, Yoshimio and company bring their flowing, organic, and genre-less music to the States in support of their new album.

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Music : Interview

Chris Corsano

by Michael Barron

The cross-pollination of noise and high-energy improvised music.

The first time I saw the drummer Chris Corsano perform live, it had been out of his usual element. Corsano, a beloved figure in the noise improv music scene, was on stage at Radio City Music Hall as Björk’s live drummer during her Volta tour. It was an unlikely juxtaposition of two master stylists: Corsano is the lion king of improvisational drumming, but there is no room for improvisation in Björk’s music. Somehow, it worked out. Last month, when I caught a live set with him and guitarist Bill Orcutt jamming it up at Baby’s All Right, the bombastic ecstasy of their performance had the audience whooping and hollering.

For Corsano, who has drummed on over one hundred records, it is easier to appear on an album than it is to record something independently. Such a statement is not something to be taken lightly. He has only recorded a small clutch of solo albums, including his grand experimental percussive record, The Young Cricketer (2006), and Blood Pressure (2007) which features no drumming at all. Cut (2012) is his latest.

This conversation took place on a stoop in Brooklyn in June of 2014.

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Music : Interview

Skygreen Leopards

by Andrew Aylward

Short, sweet, and sad (but funny).

The California psychedelic pop duo Skygreen Leopards releases its latest full-length, Family Crimes, on Woodsist on July 8th. Songwriters Glenn Donaldson and Donovan Quinn split their time between a bevy of other musical endeavors—New Bums (among others) for Quinn—that run the gamut from experimental noise to macabre chamber pop. In these two auteurs' universe of bands and side projects, the Leopards are but one planet in the solar system. As a duo, Donaldson and Quinn possess a formidable discography, which dates back to 2001 and represents an aesthetic that owes much to the melodious, hook-heavy songwriting of The Byrds and The Monkees as well as to the eccentricities of groups like Beat Happening or The Go-Betweens.

Family Crimes manages to fit fourteen songs into thirty minutes, and accordingly reads as a leaner body of songwriting when compared to the band's earlier records, which sometimes favored psychedelic atmospherics over pop tune craft. Simple drum beats and persistently strummed rhythm guitars underpin woozy keyboard lines and husky vocal melodies from both Donaldson and Quinn. The production was handled by San Francisco's Jason Quever, and the breathy shimmer that in some ways is his studio signature, exemplified on his own records as Papercuts, is well suited to Family Crimes's overarching theme of sunny, short and sweet songs.

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Music : Interview

Georgia

by Nick Earhart

Multitasking, over thinking and how music is like working out.

Justin Tripp and Brian Close have put together a sort of creative ecosystem. As Georgia, they make music and do video and design work, both for themselves and a range of client-collaborators. Across their prodigious output there remains a sense of continuity—the smaller, more experimental projects counterbalance the high-profile promotional spots, and the whole thing holds itself in orbit, with its own gravity.

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Music : Interview

Jason Lescalleet

by Ben Hall

A banjo-playing cab driver and slipping the rug out from under the listener.

For twenty years, Jason Lescalleet has been making electro-acoustic sound work, using all manner of source material to engage listeners in both site and narrative by providing a rich and physical sense of place. In addition to recently completing a trilogy of collaborations with the artist, composer, and performer Graham Lambkin, Lescalleet has been touring his project Trophy Tape, in which each of the thirteen pieces from his 2012 solo release, Songs About Nothing, is paired with videos made by a different artist.

Trophy Tape was presented at Anthology Film Archives in April and will be presented in July as part of Breathing Artifacts in Chattanooga.

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Music : Interview

Mike Cooper & Steve Gunn

by Clinton Krute

Blues, free improvisation, Portugal, and the abstract truth.

This June marks the relatively high-profile release of four records by the avant-garde guitarist and musician Mike Cooper. Cooper, an under-recognized, though key, figure of the British blues scene of the ‘60s (he was apparently asked to replace Brian Jones in the Rolling Stones at one point), began to explore overlaps between folk and free improvisation in the early ‘70s. He released a series of groundbreaking albums that fuse folk, blues, psych, and avant-garde free jazz. Three of these remarkable records—Trout Steel, Places I Know, and The Machine Gun Co. with Mike Cooper—have just been reissued by the Paradise of Bachelors label. Each of these records presents Cooper’s career in microcosm, shifting fluidly from country blues to psych rock to free improvisation and jazz idioms. Songs like Trout Steel’s eleven-minute “I’ve Got Mine,”—featuring a tenor solo that invokes Pharoah Sanders—to the series of experiments with songwriting styles that make up Places I Know, hint at the directions that Cooper’s work would take in the following decades.

Cantos de Lisboa, a new collaboration with Steve Gunn, out June 24th from RVNG Intl., is an excellent introduction to Cooper’s more recent work and an impressive collection of seamless improvisation from the two guitarists. The record, recorded in Lisbon last year, is part of RVNG’s FRKWYS series, which pairs young musicians with groundbreaking forebearers. Gunn’s recent album, Time Off, (also released on Paradise of Bachelors) was widely named one of the best albums of last year and placed his work very firmly in the experimental tradition exemplified by Cooper’s career.

Like Cooper's, Gunn’s music has a wide scope, encorporating everything from free improv to American Primitive to verse-chorus-verse songwriting to Popol Vuh-like guitar meditations. He’s very busy lately: in addition to near-constant touring, he’s also recently released a collaborative improve record with Mike Gangloff of the group Pelt, and is currently wrapping up another album of more structured songs.

I spoke to Steve and Mike—in Brooklyn and Rome respectively, on the morning of Sun Ra's 100th birthday, appropriately enough.

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Music : Interview

Craig Leon

by Scott Davis

Interplanetary folk music, the production tricks behind the Ramones' success, and how to produce a classic song.

In 1981 Craig Leon released an epic, meditative synthesizer record on John Fahey's Takoma label that to this day sounds fresh, crisp, and forward thinking. At the time, the record seemed to be an oddity, with more in common with the kosmiche electronic music of Klaus Shulze than with the NYC punk groups with whom Leon was associated. Nommos and its companion album, Visiting, which was released a few years later, are Leon’s speculative recreation of the music of the Nommos, a mythical alien race who figure in the ancient religion of the Dogon people of Mali. The apparent simplicity of the music gives way, over the course of the records, to a conceptual complexity and compositional rigor that is rare in the synth music of the time. Nommos sounds timeless in its sonics as well as in its imaginary scope.

But to say that Leon was ahead of his time is not completely accurate. His production work with bands like the Ramones, Blondie, and Suicide helped to define a sound of the times. Leon, who is based in London, has since continued working occasionally on pop records—notably, records by the Fall and Blondie, among many others. However, he now works primarily in the contemporary classical world, where he is a highly respected producer. Though you may not have heard the album that most consider to be his masterpiece, if you grew up in the ’70s, ’80s, or ’90s, chances are you've heard the work of Craig Leon.

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Music : Interview

B0DYH1GH

by Ben Rosenberg

A deadly serious joke: bedroom minimalism, play, and the potentials of transgression.

B0DYH1GH's mellow, unsettled ambiance is something of a contrast to the mechanistic, straightforward accessibility of contemporary hype. The band eschews the avatars and branded aesthetics of a relative sea of emergent creatives eager to utilise the rapid gentrification and development of Brooklyn to garnish their media profile. The psychedelia and l33t-tinged defiance of search optimisation in the band's moniker points to a more visceral and unnameable experience, a playspace of the metatextual. Fortified by understated, cryptic vocals, there is a reticence here that is contagious. B0DYH1GH will perform June 14th at Macie Gransion, 87 Rivington St. NYC, to promote the release of their new mixtape, LILDED GILY.

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Music : Interview

The Fresh & Onlys

by Gary Canino

The desert, dreams, and strange avian events in Paonia, Colorado.

House of Spirits, The Fresh & Onlys’ fifth album for Mexican Summer, is somewhat of a departure for the long-running Tim Cohen-led quartet. Take the blazing first single “Bells of Paonia:” a warm drum machine cascades alongside an effervescent melody that’s as satisfying as it is uneasy. “Paonia” is a risky move for a band that has always thrived on the sound of four friends playing together, and it works all the better for it. Cohen decamped to Arizona to write and demo much of the new material, and the songs sting with the asperity of a high-altitude duststorm.

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Music : Essay

Some Resemblances

by Keith Connolly

Actress's Ghettoville and the marketing of isolation.

The ascendancy of Actress, the rumored ex-anonym of South London producer Darren Cunningham, culminated earlier this year with the release of Ghettoville, a beguiling and vacuous album of meticulous, quasi-isolationist design. Accompanied by an impressive and undeniably effective press blitz (including a Wire Magazine cover story and Dazed Magazine “takeover”, in addition to a lengthy Quietus interview and an Ad Hoc think piece), Ghettoville was at once everywhere and ungraspable. The seemingly deliberate allocation of such lack from an artist poised upon vastly widening exposure seems difficult to reconcile, and begs the glaring question, Why?

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Music

Helado Negro

by Ari Spool

Universal languages, performing in a trance, and the benefits of losing your work.

Helado Negro is the name Roberto Lange has assumed for most of his 10 year-recording career, over the course of which he’s released many tapes and records (many on the Midwestern label Asthmatic Kitty). His songs are firm and confident to the ear. Sometimes they leave me feeling naked and exposed; sometimes, strengthened and emboldened. While listening to the shifting surface of “Pressed,” a song that contains processed and exploded noises, I could understand the metaphor physically. That song, for all its aggression, is an outlier; most of Helado Negro’s poppier songs originate in keyboards and electronics, and many, like “Arboles Atras,” from his new release Island Universe Story Three, require Lange’s rich lyrics as their anchor, whether he’s singing in Spanish or English.

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Music : Interview

Big Search

by Andrew Aylward

Matt Popieluch on the honest and exposing nature of his latest album, Role Reversal.

Until now, if you happened to be searching for Big Search—the moniker of Los Angeles songwriter and guitarist Matt Popieluch—or his recordings, you would find 2010's Lay Of The Land LP and a scattering of seven inch releases showcasing Popieluch's studied songcraft that upholds comparisons to the second acts of Lindsey Buckingham and George Harrison. With Role Reversal, out May 20th on Jaunt Records, Popieluch follows their lead, stepping into the singer's spotlight, after gigs as a guitar-slinging tour accomplice to Sky Ferreria, Cass McCombs, Taken by Trees and others. For those who have kept up with Big Search over the years, Role Reversal's eleven songs, recorded over the past four years, are a gratifying vindication of a talent that in some ways has eluded listeners and critics alike. The record, like all of Popieluch’s, is hard to pin to a specific genre, other than maybe “Californian.” Richly layered acoustic guitars and pianos give way to upper register vocals that echo the harmonies of Harry Nilsson at one moment and Beach Boys the next. The confident bass and drum pulse of "Distant Shore" underpins one of the catchiest choruses I’ve heard in a while. Popieluch can just as easily reflect on upheaval and loss (“Soft Tears,” “I'm Gonna Leave You”) as he can pull off road-tripping rockers that stick around in the best possible way. Such a mixture of levity and depth of feeling is rare. I spoke to Popieluch about the making of Role Reversal, memorable gigs as a sideman, and finding musical fulfillment in the audience.

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Music : Interview

Randal Dunn

by Brent Cody

Dark magi channel heavy jazz, dystopian folk, and experimental cinema.

Drone metal luminaries Oren Ambarchi, Stephen O’Malley, and Randall Dunn traveled to Belgium to score a film set in an apocalyptic future where time is no longer linear. They came away with Shade Themes from Kairos (Drag City, 2014), an album where each of these pioneering musicians push into new territory. This collaboration sprouts from the seedbed of Sunn O))), partaking in such ominous atmospherics but only occasionally in the thrum of wall-to-wall guitar distortion. What’s new on this record is an improvisational exploration of a vast sonic expanse where elements of musique concréte collide with slow-burning free jazz and delicate vocals.

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Music : Interview

K. Leimer

by Alexis Georgopoulos

"Ambient" music, found sound, and valuing process over product.

Since the mid–1970s, electronic composer K. Leimer has produced a rich and vast body of work. It has often, if somewhat hastily, been referred to as ambient—that is, when it has been referred to at all. While some of his albums do exhibit certain tropes of that drifting, sometimes unnerving calm, the more comprehensive truth is more complicated, and more interesting, than that tag might imply.

Leimer's work is content to veer. If stillness is a recurrent theme in his work, so is agitated motion. One can certainly draw links to the golden mid–’70s of German Kosmische (Cluster, in particular), the more tuneful sides of This Heat and Throbbing Gristle, the “Fourth World” explorations of Jon Hassell, and the malfunctioning computer funk of Eno's collaborations with David Byrne as well as Fripp and Eno's tape loop experiments. In his systems–based pieces, a strange collision of sounds and influences hold free reign.

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Music : Interview

Bishi

by Nico Muhly

Folk and sci-fi coexist in Bishi's live performance of Albion Voice.

I met Bishi at a very crowded after-party for the composer Michael Nyman; we were in a hotel basement in London and there was a mood of summery potential hovering in the atmosphere. And suddenly, in walks this creature of extreme glamour and beauty; we’ve been friends since that night. Bishi is obsessive, thorough, and fun—a winning combination. Her interest in pop mediums exists through a fundamental understanding of the experimental, avant-garde, performing arts traditions of many centuries. I live for her.

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