TVD New Orleans

Trombone Shorty welcomes Michael Franti and others to Champions Square, 10/20

The Voodoo Threauxdown, Troy “Trombone Shorty” Andrews and his band Orleans Avenue’s summer tour, hit dozens of cities this summer bringing a serious taste of New Orleans to venues across the country. The finale of the extravaganza, dubbed “Hometown Threauxdown,” takes plays a dozen blocks from the Tremé neighborhood where Andrews grew up. The show features Michael Franti & Spearhead, the Preservation Hall Brass Band, the New Breed Brass Band, Mannie Fresh, and many others. It kicks off at Bold Sphere Music at Champions Square at 6 PM on Saturday.

The summer tour featured a number of special guests including Walter “Wolfman” Washington and Kermit Ruffins, but it’s Franti and his band Spearhead that has people in New Orleans energized. The acclaimed singer/songwriter is touring in anticipation of his upcoming album, Stay Human Vol. 2, which is due January 25, and his new self-directed documentary Stay Human that is screening at select film festivals now.

Franti explains about his new music and film, “I’ve traveled the globe making music and throughout the years I’ve always hoped that it could inspire small steps towards making the world a better place. Struggling with the challenges of the world I began filming my new documentary, Stay Human, telling the stories of heroic everyday people who helped me to discover more deeply what it means to be and STAY HUMAN.”

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TVD UK

Needle Drop: Emily Magpie, “Be Your Own Light” EP

Having received acclaim from Mahogany, The Line Of Best Fit, and Earmilk, and wowed crowds supporting bands such as Let’s Eat Grandma and This Is The Kit, Bristol-based artist Emily Spetch—aka Emily Magpie—has now shared a brand new EP. Completely self-produced at her parents’ house in Cornwall, “Be Your Own Light” is a wonderfully eclectic collection of ethereal sounds, all tied together by the smooth splendour of Emily’s rich vocals.

Opening the EP is the totally captivating “Last Train.” Rich with heart-wrenching and honest emotion, it exhibits a grittier edge than previous releases, whilst retaining those trademark shimmering melodies that we’ve come to know and love. Propelled by the raw, impassioned depth of Spetch’s vocals, it flows with an utterly engrossing angelic majesty.

“Stranger” fuses glitchy beats with delicate finger-picked ukulele and twinkling keys. Showcasing Spetch’s knack for unique, refined production—it’s a perfect amalgamation of sounds, resulting in something truly spellbinding. Using found natural sounds, the EP’s title track is a perfectly dreamy slice of downtempo electro pop, with shades of folk-inspired musicality. Complete with pulsating beats, Emily’s celestial vocal urges you to “be your own light.”

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The TVD Storefront

Graded on a Curve:
Bob Dylan,
Time Out of Mind

Lots of supposedly sane folks shouted “Masterpiece!” when Bob Dylan’s Time Out of Mind came out in 1997; Elvis Costello, to pick a seemingly sober-minded celebrity name out of a hat, said, “I think it might be the best record he’s made.”

Hoo ha, said I. Sure, Time Out of Mind was a marked–no, make that very marked–improvement on the rather desultory couple of albums he’d released before it. So if you wanted to call it a resounding comeback, that was fine by me.

But masterpiece? Forget about it.

Well, time has softened me some. I still wouldn’t call Time Out of Mind a masterpiece–so far as I’m concerned Dylan stopped producing them in the mid-seventies, at latest. But it includes at least one song that stands with the very best of his work and a couple of others that are pretty damn good, and that’s not bad for an artist who was born before America entered WWII.

And the album as a whole is noteworthy for its unremittingly dark tone. Dylan sounds lost, desperate even; love makes him sick and has him all mixed up, things are disintegrating, and while it’s not dark yet, it’s getting there. This baby is one long twilight stroll through the graveyard of Dylan’s mind, and he’s not whistling; he taking a reckoning, and wondering whether the journey was worth the cost.

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A morning mix of news for the vinyl inclined

In rotation: 10/19/18

Rockford, IL | Visit five stores for Rockford Record Crawl on Saturday: Five stores will host the Rockford Record Crawl 2018 from 10 a.m. to 7 p.m. Saturday: Kate’s Pie Shop Cafe & Records, 6685 E. State St.; Culture Shock, 2239 Charles St.; Toad Hall, 2106 Broadway; CD Source, 5723 N. Second St.; and Retro Rock Records, 4675 Bluestem Road, Roscoe. Listen to music, enjoy refreshments and turn in your punch card at the end of the crawl with punches from three of the stores for a chance to win $125 worth of records.

Silver Spring, MD | Hints of trouble in (Joe’s Record) Paradise; owner blames upcoming elections: The Instagram post left vinyl-loving music fans in the Washington area holding their collective breath. On Friday, Johnson Lee, owner of Joe’s Record Paradise in Silver Spring, photographed a Post-it note with a fading black magic marker, reading “Come in for deals this weekend. We may not be around much longer…” For a record store with a long local history and that struggled to reopen in 2016, owner Johnson Lee tells WTOP his post was a bit heavy on the hyperbole. “It was worded a little more ominously than I should have, perhaps,” said Lee, the son of founder Joe Lee, who took over the business in 2009. “It’s been a real tough two years.”

W Hotels launches its own record label after installing recording studios: Pushing music to the forefront of the visitor’s experience, recent innovative moves by global hotel brand W Hotels include adding carefully-curated playlists and catalogues to rooms, creating the Wake Up Call music festival, and installing recording studios in four locations around the world that allow creative guests to express themselves. Taking that appreciation for music a step further, the hotel chain has just announced the launch of its very own record label…Rising pop and R&B star Amber Mark is the first artist to be signed to W Records, and is due to release two digital and two vinyl tracks this month. Plans are in place for three more emerging artists to be signed over the next year.

Islington, UK | Editor’s comment: What can we learn from Alan? …My childhood was spent in record shops. I can’t have been older than Alan’s eight-year-old customer when I started digging through dusty crates for the music that would go on to soundtrack my teenage years – the Pet Shop Boys, Erasure, Pink Floyd – and soon enough I was planning entire day trips around shops I’d found in the Yellow Pages, in towns that were just about accessible by train with the assistance (or resignation) of a long-suffering parent. It seemed like a whole world had opened up to me but in truth those years – late ’90s, early 2000s – were vinyl’s nadir. Sales, despite my pocket money, were unsustainably low; shops were closing or downscaling to focus on easier, more reliable sources of income; industrial investment was minimal or non-existent, with manufacturers left to salvage parts for ailing record presses from decommissioned Eastern European plants. Yet fast-forward 15 years and the picture is completely different

Fargo, ND | Give music a spin: 6 things to do this weekend in Fargo-Moorhead—Fargo Record Fair: It seems like every year there’s a news story about a vinyl resurgence, but for some music fans, spinning black records never went out of fashion. Collectors of all ages will descend on the El Zagal Shrine, 1429 Third St. N., Fargo, for the annual Fargo Record Fair this Saturday from 10 a.m. to 5 p.m. Some will be looking for old jazz, some hunting for new indie rock, others searching for obscure noise acts. With 30 vendors participating, it’s possible to find the album you’ve been looking for or the one you never knew you needed. Admission $3.

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TVD UK

TVD Live Shots: Glasvegas at Heaven, 10/12

I can’t believe it’s been a decade since the release of one of the most critically acclaimed debut albums of all time. Glasvegas released their eponymous debut record in September of 2008 and I saw them live the following year as they toured the States. I was working for their record label, Sony Music, at the time and I don’t think I’ve ever seen a more significant buzz on a band from the UK Stateside since Franz Ferdinand or maybe Editors. The record was celebrated and praised by all the big media outlets in the UK, was nominated for the coveted Mercury Prize award, and topped virtually every best album year-end list. So was it overhyped? Absolutely fucking not.

Then again that could be said with 90% of the UK bands who find success in their home country but fail to get traction Stateside. I can tell you this, it’s not because the label didn’t push them, they did. Several folks at the record label were very passionate about this band and rightfully so. The problem I think was that radio (still a big factor for determining success at the time) had no idea what to do with them. I mean, what station would play a band that sounds like The Clash crossed with Elvis and produced by Phil Spector and the Ronettes? Yeah, that’s what I thought.

Glasvegas is an important record because it made a statement in a sea of copycats looking for radio play. It was part throwback, part future-forward, and drenched in emotion. From the opening cut “Flowers and Football Tops” to the very end of “Ice Cream Van,” this record has something for everyone. Of course, the highlights were in the meaty center propped up with the brilliant “Geraldine” and “Daddy’s Gone,” but it felt like a single piece of work at a time when the album was under attack. I would even go as far to say that this was one of the last few true albums, or at least the last of the great debuts.

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The TVD Storefront

TVD Radar: Pere Ubu “Final Solution” 7″ in stores 11/16

VIA PRESS RELEASE | “Belying the frightening soundscape was a definite, playful humor, both in the wordplay and in the specific complaints.”All Music

It sounds like a call to arms, a rallying cry from a tinny transistor radio, the grind and rhythm of industrial Ohio clumping into the back of your head with enough spacey synth rising up through its esophagus… bubbling up like some acid explosion. How come Pere Ubu created such a noise in 1976? Recorded in just three hours at the Suma studio, it was their reaction to punk rock’s simplicity; a complexity that at 2:19 sounds like rayguns are primed and by 2:28 the power gets cut by “nuclear destruction.”

It’s a bleak and morbid worldview, the title taken from the Sherlock Holmes’ book The Final Problem, that ensured the new wave and the cold war would collide in post-punk acrimony, listed on Rate Your Music as “anxious, misanthropic, futuristic, noisy, suicide, rebellious, alienation.”

This limited edition pressing recreates their second self-released Hearpen single and sounds just as revolutionary and inspirational many moons later… they don’t need a cure, welcome to the mainstream.

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TVD New Orleans

Unidos do Swing brings Brazilian brass band music to Café Istanbul, 10/18 and 10/22

Regular readers of this space know that I love Brazilian music almost as much as I love New Orleans music. So when a serendipitous encounter with a Brazilian trombonist at Satchmo SummerFest presented a chance to hire a Brazilian brass band, I jumped to attention. Now, two and half months later, Unidos do Swing is in New Orleans and will be playing two shows at Café Istanbul.

The group is from São Paulo and their music is an infectious mix of traditional jazz with the music of the Brazil. The band is a parading unit, like a New Orleans brass band, featuring brass, wind, percussion, and string instruments. The musicians are inspired by the sounds of jazz and traditional Brazilian rhythms. The video below has some information about the band with English subtitles. At the end you will hear a snippet of the Rebirth Brass Band’s “Do Whatcha Wanna.”

The repertoire of Unidos do Swing is a unique fusion of New Orleans second line music, swing era jazz, blues, and the Brazilian sounds of maracatu, baião, and of course, samba. They also throw some ska into the pot along with their original tunes and arrangements. The band is in the middle of their first international tour with performances at HONK! Festivals in Somerville MA, Providence RI, and New York City.

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The TVD Storefront

Kramies,
The TVD First Date

“During adolescence, I was a bit self-isolated (a loner but happy) and I’ll be honest, musical talent / appreciation was non-existent in my family, thus, I was never exposed to music at a formative age. My earliest and only escape was retreating into my own imagination.”

“Around the age of 9, I unearthed my parents’ old record player. My father had a dearth of vinyl records, stored in a vintage-style cabinet. I recall the first time, back in the ‘70s, when I pulled a random album and placed those oversized-headphones on my undersized-head. I listened, really listened, to that record player. The first vinyl record I absorbed was European; an old relic called The Christmas Choir. My inaugural vinyl experience: a joyous assault of warmly expansive tones, which I credit to headphones and the analogue medium.

Deep listening became obsession. I devoted the lion’s share of my youth listening to vinyl (especially on headphones). I would lay supine on any floor as seconds became hours. Inhaling Christmas albums went autopilot after I discovered the lone Halloween record; the only Halloween vinyl I have heard to this very day.

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The TVD Record Store Club

Graded on a Curve:
New in Stores, October 2018, Part Three

Part three of the TVD Record Store Club’s look at the new and reissued releases presently in stores for October, 2018. Part one is here and part two is here.

NEW RELEASE PICKS: Madison Washington, (((( FACTS ))))) (Def Pressé) This NYC-UK duo’s “Code Switchin’” EP from last year was solid, but here is a major leap forward and one of the best hip-hop full-lengths (available on 2LP) that I’ve heard in quite a while. After the short opening track’s spoken poetics (with a touch of sonic manipulation) reassert the politically-socially conscious verve of their debut, the title cut delivers a rhythmic tour de force, setting matters into motion with a high point, and it’s to MC Malik Ameer and producer-DJ thatmanmonkz’ credit that what follows never falters or even runs low on gas. Interestingly, I’m hearing a much stronger P-Funk/ Outcast vibe than I did before but sprinkled with some jazzy bits and bushels of smart rhymes. A knockout that’s invigorating for the body and mind. A

V/A, Mexican Summer: A Decade Deeper (Mexican Summer) Emerging in 2008 as a subsidiary of Kemado Records, Mexican Summer has grown into one of the more interesting labels on the contempo independent scene, and stylistically diverse, which means that the previously unreleased selections on this anniversary compilation (which lean toward the imprint’s recent and current activities) are unlikely to please most listeners equally. As evidence, my preference is for the tracks by Arp, Drugdealer, Robert Lester Folsom, Allah Lahs, PAINT, Connan Mockasin’s Jassbusters, Gregg Kowalsky, and Tonstartssbandht over Part Time’s lite-pop-fuckery and Dungen’s cut, which kinda sounds like America with their mouths sewn shut. But hey, nothing gets even close to stinking thing up, so cheers for ten good years. B+

REISSUE/ARCHIVAL PICKS: V/A, Damaged Goods 1988-2018 (Damaged Goods) Rearing to life as a punk reissue label in ’88 London, Damaged Goods began dishing out fresh stuff not long after. With 30 years of elevating global record store bins in the books, this 37-track 2LP anniversary celebration of “top tracks, deep cuts, lost gems and personal favourites,” if far from exhaustive (as there’s 500 releases in the catalog), delivers a roaring, banging, at times grabbingly melodic, and more than adequately varied good time, even as the label’s enduring and crucial stewardship of Wild Billy Childish’s output (in its assorted guises) is well-represented (and fairly diverse, as selected here). Highlights? Too many to list, but if punk classique brings you warmth, this’ll get ya nice and toasty in the record den. A-

Black Artists Group, In Paris, Aries 1973 (Aguirre) Formed in St. Louis, the Black Artists Group was a free jazz collective similar in operation to Chicago’s Association for the Advancement of Creative Musicians. An additional connection was Joseph Bowie, the brother of Art Ensemble of Chicago trumpeter Lester Bowie. BAG membership included saxophonists Julius Hemphill, Luther Thomas, and Hamiet Bluiett (RIP), but for this recording, the players are saxophonist Oliver Lake, trumpeters Baikida Carroll and Floyd LeFlore, drummer Charles Bobo Shaw, and trombonist Bowie. Having traveled to France a la an earlier excursion by the Art Ensemble, the likenesses between the two collectives extend further, but much of this fire is of the BAG’s own making. Far more than of historical interest, and in an edition of 500. A-

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A morning mix of news for the vinyl inclined

In rotation: 10/18/18

Knoxville, TN | Sights & Sounds brings vinyl records back for checkout at Lawson McGhee Library: The saying ‘Everything old is new again’ appears to be right — especially when it comes to music. Vinyl records have seen a resurgence over the past decade, and recording studios have taken note and have started a trend of releasing LPs alongside digital downloads and Cds for many new releases. The Knox County Public Library has also taken note, announcing Tuesday it’s adding vinyl records to it’s collection. There are about 150 titles for circulation in the Sights and Sounds Department at Lawson McGhee Library downtown. Patrons can check out up to five records for three weeks. Due to the fragility of the albums, check out and return of records will be limited to the downtown library.

Aretha Franklin limited edition 6xLP box set announced: Featuring a rarities album with 11 stunning demos and outtakes on vinyl for the first time. A new 6xLP box set collecting Aretha Franklin’s studio albums and recordings during her “Atlantic Years” is being released this December via Rhino Records. The Atlantic 1960s Albums Collection includes Franklin’s first five studio albums with Atlantic – I Never Loved A Man The Way I Love You – Mono, Aretha Arrives – Mono, Lady Soul – Stereo, Aretha Now – Stereo, Soul ’69 – Stereo, as well as a Rarities From the 1960s LP with 11 demos and outtakes. Though these demo and outtake recordings have been available digitally and on CD since 2007, as part of her Rare & Unreleased Recordings From The Golden Reign Of The Queen Of Soul compilation, this is the first ever vinyl release, with highlights like her astonishing demo of ‘I Never Loved A Man (The Way That I Loved You’).

The Entire ‘Teenage Mutant Ninja Turtles’ Movie Score is Being Released for the First Time Ever: Teenage Mutant Ninja Turtles fans have wanted a complete version of the score for the original 1990 film for nearly 30 years, and they’re about to have their dream come true. The score composed by John DuPrez is about to be released in its entirety for the first time ever thanks to a new vinyl release from Waxwork Records…Nerdist has the news on the Teenage Mutant Ninja Turtles vinyl soundtrack. Those who attended New York Comic-Con were lucky enough to get their hands on the Shredder variant ahead of the street date, but don’t worry, because there are eight total colored vinyl versions of the soundtrack for you to choose from.

Wilco announce limited edition vinyl ‘toolbox’ boxset: In an exclusive collaboration with outdoor lifestyle brand Best Made Company, Wilco presents an extremely limited Wilco Box Set containing all of their ten studio albums plus more, presented in an album crate inspired by Best Made’s Audubon toolbox. Made from fir ply and hand-finished with marine spar varnish, the box is laser-engraved and embossed with Best Made and Wilco’s logos. Complete with craftsman touches, it features a leather strap anchored by brass guitar strap buttons, painted birch dowel handle, and a hinged front plate for easy access to the albums. An additional compartment on the back hold the Wilco pennant and the Wilco bandana in two colors. The numbers 1 through 10 are engraved along the front, representing both the number of albums and the total number of limited edition sets in existence. Each of the band’s 10 studio albums are included in vinyl format, individually signed by frontman Jeff Tweedy.

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TVD Washington, DC

TVD Live: Josh Rouse
and Grant-Lee Phillips
at Pearl Street Warehouse, 10/13

For a joint tour that ends in a collaboration, Josh Rouse and Grant-Lee Phillips don’t look like they’ll immediately go together. Rouse, in a three-piece suit and tie, travels in a breezy, sophisticated kind of guitar pop bordering on light jazz. Phillips growls and rocks in a manner suited to his old band Grant Lee Buffalo.

But there is a mutual respect and an adherence to songcraft and turn of phrase that makes theirs a more natural pairing than one would expect. In a Saturday night stop at the Pearl Street Warehouse in Washington, D.C.’s year-old Wharf district, the two worked individual sets on the barest of stages. Aside from a couple of wedge monitors and a tuning pedal, they had nothing else. Not additional guitars for the empty holders behind them. Not even set lists. That may have meant more freewheeling performances than usual, open to requests or songs they hadn’t played for a while.

Phillips took the stage feeling feisty, wisecracking between songs, and starting with a couple from his latest album, Widdershins, before moving back to his third solo album Virginia Creeper with “Far End of the Night.” There were a trio of songs from the ’90s band he led, Grant Lee Buffalo, invigorating the middle of the set. But he largely dwells in a folkie realm these days, with impressive fingerpicking skills behind his deft lyric touch. He reached a high point with songs like “Buried Treasure” and “San Andreas Fault,” and in between played a couple of requests, “See America,” which he probably would have played anyway, and “Lily-a-Passion” which he probably would not have.

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TVD New Orleans

Robert Walter’s 20th Congress bring Spacesuit to D.B.A., 10/18

For several years organist and keyboardist Robert Walter was a fixture on the New Orleans scene, performing in various combos and collaborating with New Orleans musicians. Since moving out of town, he’s put together a new version of his flagship band, the 20th Congress, featuring two local stalwarts—drummer Simon Lott and guitarist Chris Alford. They will perform songs off their new album, Spacesuit, at D.B.A. Thursday night.

Spacesuit is a bit of a departure for Walter whose modus operandi has mostly been mining the fertile territory of jazz, funk, and soul as it was practiced by the greats throughout the 1960s and 1970s. For the new album, Walter decided to stretch his influences into another realm entirely.

While the album retains much of his hallmark scintillating keyboard work and the quartet, which also features funky bassist Victor Little, is tight at the proverbial drum, some of the sounds may seem out of place to listeners used to Walter’s more straight ahead soul jazz work particularly on his albums with New Orleans drummer Stanton Moore and with his seminal group, the Greyboy Allstars.

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The TVD Storefront

Graded on a Curve:
Lady Gaga, “Poker Face”

I’ll be the first to admit I sold Lady Gaga short when she detonated like a hyper-sexualized glitter bomb on the pop scene with her 2008 debut LP The Fame. Stefani Joanne Angelina Germanotta sounded like a brazen Madonna copycat to me, and if there’s one thing I can’t abide it’s a cheap Lower East Side Madonna knock-off. Ms. Ciccone and I go back too far.

Ah, but then her Gaganess sat down for an interview with Vanity Fair, and said an astounding and wonderful thing. Namely, “I have this weird thing that if I sleep with someone they’re going to take my creativity from me through my vagina.”

I mean, wow. Those words hit me like a diamond bullet smack in the third eye. Because NOBODY who says crazy shit like that can be written off as fake goods. No, I knew right then and there that Lady Gaga was a stone American original, and deserving of the kind of same degree of unwavering respect as the Dali Lama, Ruth Bader Ginsberg, and Kanye “This hat makes me feel like Superman!” West.

Why, I haven’t heard such naked honesty since Little Richard said, “The only thing I like better than a big penis is a bigger penis.” And with her refreshing candidness in mind I promptly sat down to listen to Lady Gaga with new ears.

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TVD Washington, DC

The Best of TVD’s Play Something Good with John Foster

The Vinyl District’s Play Something Good is a weekly radio show broadcast from Washington, DC.

Featuring a mix of songs from today to the 00s/90s/80s/70s/60s and giving you liberal doses of indie, psych, dub, post punk, americana, shoegaze, and a few genres we haven’t even thought up clever names for just yet. The only rule is that the music has to be good. Pretty simple.

Hosted by John Foster, world-renowned designer and author (and occasional record label A+R man), don’t be surprised to hear quick excursions and interviews on album packaging, food, books, and general nonsense about the music industry, as he gets you from Jamie xx to Liquid Liquid and from Courtney Barnett to The Replacements. The only thing you can be sure of is that he will never ever play Mac DeMarco. Never. Ever.

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The TVD Storefront

Graded on a Curve:
More Klementines,
More Klementines

Featuring Jon Schlesinger on banjo and guitar, Michael Kiefer on drums, and a dude named Steubs on mandolin, guitar, and electronics, More Klementines are far from a typical excursion into rock-rooted improvisation (if standard examples of the form do indeed exist). The self-assessment of the music as a “sort of Appalachian Krautrock” reinforces this, as does the trio’s use of non-standard instrumentation; along with guitar and drums, there’s banjo and mandolin. The results jazzed the participants, and it should also gas lovers of improv, psychedelia, and yes indeed, even roots mavens who like to take it “out.” It’s available October 19 as a co-release from Twin Lakes and Feeding Tube Records.

In its commingling of abstraction and intensity, a lot of hardcore improvisation can strike listeners who’ve thus far subsided on a musical diet of recognizable patterns and progressions (in a nutshell, form) as an arduous experience. After soaking up this eponymous offering of two side-long untitled tracks by the Connecticut-based More Klementines, I feel confident in declaring it a suitable point of entry for the improv-curious as it’s simultaneously poised to offer satisfaction to fans of the heavy-duty stuff.

This is in part because the players are no strangers to free-rock endeavors. Kiefer runs Twin Lakes, a label that’s activity might register as modestly underground, that is, until ya’ stumble upon Michael Beach’s Golden Theft, which stands as one of the best, and most slept-upon, riffs-and-songs rock records of this decade, but he’s also the drum half of the free-rock duo Rivener, whose releases on Twin Lakes have brought pleasure to many ears with a predilection for rock expansiveness.

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