Part three of the TVD Record Store Club’s look at the new and reissued releases presently in stores for November 2021. Part one is here and part two is here.
NEW RELEASE PICKS: Hedvig Mollestad, Tempest Revisited (Rune Grammofon) Norwegian guitarist Hedvig Mollestad Thomassen has released seven full-length recordings with her trio, all of them on Rune Grammofon, including Ding Dong. You’re Dead in March of this year. This might lead one to the supposition that this is a solo set, but no; recorded in 2019, it offers five tracks by a septet featuring assorted saxophones, vibraphone, bass, two drummers, a little flute and synth, plus Mollestad’s guitar (she’s also credited with vocals, upright piano, and handclaps). Similar to her trio material, the sound here is a robust fusion, merging rock and jazz in a manner that’s primarily hard and heavy (not bluesy) and expansive rather than explicitly proggy. There are a few pleasant atmospheric stretches and some solid groove action that doesn’t go overboard. Considered a bookend to The Tempest, a work by the late and highly esteemed Norwegian electronic musician and composer Arne Nordheim, this album continues a streak of creativity likely to please adventurous rock heads and non-stodgy jazzbos alike. A-
Wet Tuna, Eau’d To a Fake Bookie Vol. 1 & 2 (Hive Mind) Wet Tuna has been showered with enthusiasm in this space before. The outfit is the impetus of MV and PG Six (aka guitarists Matt Valentine and Pat Gubler), two individuals with deep and varied u-ground psych catalogs who’ve played together extensively for the last 25 years or so, back in the day as part of Tower Recordings and more recently as Wet Tuna. This 2LP is a vinyl press of a limited edition 2CD that came out last year on the Child of Microtones label, consisting of six cover selections, with MV and PG Six multitasking instrumentally while welcoming additional hands on bass and drums. The first LP offers two side-long tracks, “When I Get Home” by Pentangle and “Water Train” by Michael Hurley, that brought to mind both Lou Reed and Skip Spence’s Oar. LP two shortens the runtimes but broadens the sound with programmed drums, organ and synth on versions of “Fallin’ Like Dominoes” by The Blackbyrds, “The Harder They Come” by Jimmy Cliff, “Deal” by Jerry Garcia, and “Baudelaire” by Peter Laughner. A-
REISSUE/ARCHIVAL PICK: Phương Tâm, Magical Nights: Saigon Surf, Twist & Soul (1964-1966) (Sublime Frequencies) South Vietnamese singer Phương Tâm’s entire career is covered by the three-year period of the title, which makes the sheer range on display all the more impressive, as it includes assorted strains of early R&R (with an emphasis on pre-Beatles dance craze igniters), soul-R&B, bluesy numbers, and jazz ballads. The informative texts in the booklet by Magical Nights’ producers Mark Gergis and Hannah Hà (Tâm’s daughter) explain how Tâm was as much of a club performer as a recording artist, often appearing in up to four venues in the course of one evening and necessitating the breadth of style, as some catered to R&R-loving youth while others were more sophisto. Holding it all together on this CD of 25 tracks is Tâm with vocals strong and confident. She might not be as polished as some of her Western inspirations, but that’s actually part of the appeal, as Tâm is never not in control, her verve combining beautifully with the lean energy of the bands. A large serving of personality-laden history. A
Graham Parker was a smart lyricist, a strong vocalist, a generous bandleader, and his influences were generally impeccable; as a result he became a critic’s fave in an era that frequently jettisoned such artists to the cut-out bins, though happily the man accumulated a large enough following to avoid being labeled as a commercial casualty.
NEW RELEASE PICKS: Henry H. Owings, Plus 1 Athens: Show Flyers From a Legendary Scene 1967-2002 (Chunklet Industries) Unless I’m misremembering, Athens, GA was the first city that entered my consciousness specifically as a locale of a music scene. This was no small thing. Although I preferred the sounds of other regions, Athens heavily impacted my consciousness as a place of possibilities achieved, and in my imagination, against substantial odds, at least until I learned that dozens of college towns across the country had scenes. But it’s not like that realization burst my bubble. Offering over 150 flyers (and one guest list) chronicling a city’s musical development, Owings book effectively captures the non-glamor of the Athens experience (this attribute shared with other college rock-indie rock scenes) while documenting a range of styles considerably wider than Southern new wave and jangle.
Daxma, Unmarked Boxes (Blues Funeral Recordings / Majestic Mountain Records) To begin, the name is pronounced DOCK-ma and it’s a term for a Zoroastrian funerary temple. The band, comprised of Isaac R. (guitar-vocals-bass), Jessica T. (violin, vocals, guitar, piano), Forrest H. (guitar, bass), and Thomas I. (drums), is from Oakland, CA, with Unmarked Boxes their second full-length alongside two EPs since 2016. Described as a post-doom combo, Daxma’s ambitiousness is on full display here, with the record drawing inspiration from a poem by the 13th century Persian poet Rumi (his line “Don’t grieve, anything you lose comes back in another form” titles the last two tracks). The sound is heavy but also atmospheric. Notably, the band employs “post-metal” as a descriptor, which strikes me as a genre extension of post-rock. I bring this up because the atmospheric qualities occasionally brought Godspeed You! Black Emperor to my mind. I’m not the first to mention this similarity; while it’s not overdone, the relationship is certainly there. And that’s swell. So are the vocals. Eminently relistenable. A-
REISSUE/ARCHIVAL PICK: Leo Nocentelli, Another Side (Light in the Attic) Nocentelli is best known as the guitar player and songwriter in The Meters, the decidedly funky New Orleans institution. This recently-unearthed solo album (the story features “Money Mike” Nishita and a Southern California swap meet), recorded between 1970-’72 with assistance from pianist Allen Toussaint, drummer James Black, and fellow Meters, bassist George Porter Jr. and drummer Zigaboo Modeliste, is largely acoustic and therefore not inaccurately described as folky, but it’s still a pretty funky affair, which is cool. It can be hard not to think of Bill Withers as the songs unwind, but that’s just fine, as thoughts of Bill Withers have never been a problem for me. But along with a few instances that inch toward swamp pop (“Riverfront” reminds me a bit of Tony Joe White with a hint of Shuggie Otis), everybody’s playing is sharp, and Nocentelli’s singing is consistently likeable, especially on “Getting Nowhere” and an album-closing version of Elton John’s “Your Song.” Another sweet surprise from a reissue label full of them. A-
NEW RELEASE PICKS: Patrick Shiroishi, Hidemi (American Dreams) Los Angeles-based Japanese-American multi-instrumentalist & composer Shiroishi named this record in memory of his grandfather Hidemi Patrick Shiroishi, with its contents directly related to his 2020 album Descension, which was primarily an expression of life inside the Japanese-American concentration camps of WWII. That set, featuring saxophone and electronics, stands as an uncompromising yet cathartic experience, but Hidemi, with its more personal focus on his grandfather’s post-camp life, offers great beauty amid passages of raucous power as Shiroishi plays C-melody, soprano, alto, tenor, and baritone saxophones, multitracking the horns in studio to often startling effect. While there are elements of free jazz abstraction in the mix, this is a highly structured record that is further elevated by Shiroishi’s vocals on the final track, “The Long Bright Dark.” Vinyl has been pushed back to February/March. There is an accompanying chapbook of essays from Asian-American artists including Susie Ibarra, Jon Irabagon, and Eyvind Kang. A
Sally Anne Morgan, Cups (Thrill Jockey) As a member of the Black Twig Pickers and as half of House and Land, multi-instrumentalist Morgan has amassed a considerable body of work, but it was only last year that her terrific solo debut Thread was released. Cups is its follow-up, released on cassette October 1 with the digital available tomorrow, 11/12. No mention is made of additional contributors, so it’s safe to assume that Morgan is using the studio to its full advantage and playing fiddle, banjo, guitar, dulcimer, and assorted percussion. What might be lost in interactive spontaneity is replaced with intensity of personal vision; Cups is a recording that’s inextricably connected to Appalachian old-time tradition, but with an expansiveness (Thrill Jockey describes it as psychedelic) elevating the contents into the realms of the experimental. In “Hori Hori” the guitar is reminiscent of prime early Fahey (in terms of pure beauty, not dexterity), while closer “Angeline” exudes some tremendous raga vibes. In between there are elements of drone and cyclical maneuvers that are subtly Minimalist. An altogether superb excursion. A
Ross Goldstein, Chutes & Ladders (Odd Cat) This is the third LP in Goldstein’s trilogy for mellotron (preceded by The Eighth House in 2018 and Timoka last year), a highly satisfying culmination that, like the prior two albums, avoids disintegrating into a faux-orchestral swamp. It’s important to note that the entirety of the LP’s sounds derive from the mellotron’s soundcard library (the same is true of The Eighth House and Timoka, with the exception of a field recording of a hot springs on the former and the sound of Goldstein’s cat on the later), and also that Goldstein is using a digital simulation of an original modal. Much of Chutes & Ladders radiates like extracts of film soundtracks, and especially the recording of Beethoven’s “Allegretto,” which sounds like it could’ve been culled from an obscure Eastern European art film from the late ’60s, and a closing reading of Shostakovich’s “Largo.” Many of the original pieces, and particularly so with “Socorro” and “Journey to the End of the Night” (nice Céline reference there) delver a sort of mystical sci-fi atmosphere that brought Tarkovsky to mind, which is fantastic. A-
REISSUE/ARCHIVAL PICK: The Bootheels, 1988: The Original Demos (Omnivore Recordings) Doubtlessly some folks who are hip to the background of this band but have yet to soak up the 13 tracks (plus three extra on the CD and digital) have glanced downward just a bit on their screens, absorbed the given grade and are sure the mark’s just too kind: “They were just teenagers, how can it be that good.” Well, for one thing, some of the best R&R ever was made by teens, and The Bootheels are unabashedly R&R in orientation. Second, the lineup doesn’t just feature one musician who went on to proverbial bigger and better, there are four, namely future Freewheeler Luther Russell (also half of Those Pretty Wrongs with Jody Stephens), Jakob Dylan and Tobi Miller, later of The Wallflowers, and Aaron A. Brooks who went on to play with Moby and Lana Del Rey. This isn’t one budding talent surrounded by modest cohorts, it’s four skilled guys bursting with energy. Yes, their stuff sounds a lot like the Replacements, but had these songs came out in ’88 I would’ve played them a helluva lot more than Don’t Tell a Soul. A-
NEW RELEASE PICKS: Black Marble, Fast Idol (Sacred Bones) Beginning as a duo, with the early exit of TY Kube, Black Marble became the project of Chris Stewart, Brooklyn-based for a while though currently working in Los Angeles. Three full-length records precede Fast Idol in the Black Marble discography, with this set the second LP released by Sacred Bones, who also put out Black Marble’s pink vinyl 12-inch of cover songs last year. I dug that set, and feel the same way about Fast Idol, as Stewart’s approach to techno-pop benefits from vivid multidimensionality of execution. It’s clear by now that scads of folks can regurgitate this sound, but few pull it off as convincingly as Stewart. It comes down to writing as much as timbres and atmospherics. Style descriptors attached to Black Marble include darkwave, minimal synth, and coldwave, none of them inappropriate, but to my ear, the sustained high quality of the songwriting places this album firmly in pop territory, techno- or synth-, take your pick. Highly danceable, but more achily lush. The added guitar in “Say It First” delivers a standout moment. A-
Dinner, Dream Work (Captured Tracks) Dinner is Danish multi-instrumentalist Anders Rhedin, who has a few prior full-lengths out on Captured Tracks, though the man is in fact returning from a sojourn of sorts, as it is divulged that he delved into the potentialities of “ambient and meditation music.” As this is my introduction to Rhedin’s work, it was difficult to discern what kind of impact this break had on his output as Dinner, at least until penultimate track “Born Again” gave way to “Drøm.” There is the sound of running water, there are drifting fields of sound, and there is even a synthetic fluty thingy (maybe two). It’s a nice way to end an album, but leading up to that, Dinner is still squarely about the songs. There are synths, but it’s not synth pop. There are surely guitars, but it’s not exactly guitar pop. Indie? Sure, but it doesn’t easily fit into the old-school or new jack varieties. All of this definitely situates Dream Work as a pop-auteur situation that’s only enhanced by a few neo-’80s-isms, the occasional guy-gal harmonies and the distinctive quality of Rhedin voice, his accent adding value. A-
Kira, S/T (Kitten Robot) Kira Roessler is a bass player of distinction, one of the best I’ve heard in fact, with my esteem directly related to her work in the two-bass duo dos alongside her ex-hubby Mike Watt (her work in other contexts is also worthwhile, in particular her role in Black Flag as she replaced Chuck Dukowski). Kira (as she prefers to be called) is also a fine singer (a talent she sharpened in dos) and crafter of songs (with the bass always at the forefront), making her a triple threat (and even more, as she has multiple credits as sound editor for Hollywood films) who’s only gotten around to releasing her debut solo album in 2021. It’s a good one. A damned good one, even. Although she gets a little help from her friends (and production assistance from her brother Paul), this is firmly Kira’s show, the ten tracks unwinding with a relaxed maturity that still holds the power to captivate. At a few moments, I was reminded of Kim Gordon, though Kira’s work here is pretty firmly rooted in songs. Still her rock bona fides shine through, as she maximizes the potential of her instrument throughout. A-
REISSUE/ARCHIVAL PICK: Lena Platonos, Balancers (Dark Entries) The discography of Greek pianist and composer Platonos is extensive and begins in the early 1980s, with its fruits falling solidly into the electronic basket, but with clear arty and outright experimental tendencies. She’s particularly noted for three releases, Sun’s Masks (’84), Galop (’85), and Lepidoptera (’86), which have all been reissued by Dark Entries, along with three 12-inch EPs devoted to contemporary remixes of her work. Balancers offers 14 tracks, all unreleased and likely to tempt fans of avant-electronics, especially as the timeframe, specifically ’82-’85, overlaps with the above albums. The reality is that without a specific pointer to the age of these recordings, I would’ve been hard pressed to nail down their era. This lack of datedness is appreciated, as is the range; there are rhythms, but they don’t run rampant. I quite like the numerous tracks where Platonos recites poetry in Greek. During “Now, While You Wait for Your Love,” she even breaks into song. A-
NEW RELEASE PICKS: Sean Conly, The Buzz (577) Unsurprising for a bassist in contemporary jazz, Conly has extensive appearances on records but a tighter discography as a leader or co-leader. He is part of numerous combos that have yet to hit studios, however. His interactive ingenuity shines out brightly here, with pianist Leo Genovese and Francisco Mela on board for a 10-track set (available on vinyl, CD, and digital) with six of the compositions Conly’s; they also tackle pieces by his frequent collaborator Michael Attias, Paul Motion, Sam Rivers, and Sondheim in a closing reading of “Send In the Clowns.” After multiple listens, it seems the bassist’s billing derives from his authorship of the tunes. As said, Conly is wonderfully expressive (and big in a vibrant recording) but so is Mela and Genovese as the three excel in the tried-and-true piano trio format. Yes, the ties to various traditions are strong, but it’s also crystal clear that The Buzz is the byproduct of minds at the forefront of jazz music’s 21st century flourishing. It’s an LP that’s inviting yet rigorous and an utter treat throughout. A
V/A, Sacred Soul of North Carolina (Bible & Tire Recording Co.) Bruce Watson’s newest label hits a home run with this collection of African American gospel, thematically tight yet invigorating in its diversity, all from Eastern North Carolina, and with the entirety recorded across eight days in February of 2020 in a studio assembled in the storefront of a 100-year-old building in the town of Fountain. Anybody conversant with the long history of Hot Gospel will appreciate how these eleven groups extend the style while exuding vitality that registers as thoroughly of the moment. In this case, “of the moment” is not the same thing as contemporary, though the soulfulness that runs through these 18 selections is still very much relevant to modern music. But what makes this comp so vital is skill honed through passion and community-strengthening conviction. The range of Faith & Harmony’s two tracks, the first an a cappella knockout and the second an organ-rich full band-backed groover is indicative of the whole. Sacred Soul of North Carolina is a non-stop delight, available on 2LP, CD, and digital. A
REISSUE/ARCHIVAL PICKS: Tito Arevalo, Mad Doctor of Blood Island OST (Real Gone) The first of two Halloween-appropriate soundtracks culled from the vast reservoir of psychotronic grindhouse (or drive-in, depending on the part of the country you’re from) exploitation cheapies. I know Mad Doctor of Blood Island only by its sketchy reputation. Released in 1969, it’s the second film in the Blood Island saga, and in OST terms, this one is likely the most interesting. I come to this speculative conclusion based on Filipino composer Arevalo’s score being reused in the next two Blood Island installments, 1970’s Beast of Blood and ’71’s Brain of Blood, though Mad Doctor’s is the only one that’s fully orchestral. There are also multiple sequences that reinforce Arevalo is being a non-hack, and I’m not just talking about the pieces that can be described as Horror Exotica (to borrow Real Gone’s term). Quite enjoyable if a tad repetitive. Added value: a killer radio spot for the film and its excerpted opening, which features a William Castle-style “drink this vial of green blood” audience gimmick. Those were the days. B+
William Lava, Dracula Vs. Frankenstein OST (Real Gone) Unlike the above, I have watched Dracula Vs. Frankenstein, once many years ago. If I said it was forgettable, I’d be lying. Dracula had a ring that shot flames. Frankenstein was in wheelchair. There were hippies. Bikers. Russ Tamblyn. Lon Chaney Jr. And a carnival on a boardwalk. But memorable doesn’t necessarily equal good. That Al Adamson, one of more enduring figures in the history of exploitation films, directed, helped a bit (this movie reportedly began as a sequel to Adamson’s Satan’s Sadists, which explains the bikers and Tamblyn), but please don’t get the idea that Drac Vs. Frank is some kind of trash masterpiece. Lava’s soundtrack is solid and with moments of distinctiveness, e.g., touches of vibraphone, weird note slides (at one point mingling with some aggressively blown tuba), and even a few cascades of harp. The alternate takes are worthwhile, especially the “Jazz Chase” sequence (which was unused in the film). Also features a radio spot: “Yesterday they were cold and dead, today they are hot and bothered…Rated PG…” B+
Heavy on covers and by extension lacking in gestures toward originality, the ’64-’66-era Moody Blues are unlikely to be many people’s (I’ll stop short of saying anybody’s) most beloved component in the British Invasion. In fact, talk of the group today reliably focuses on the post-Denny Laine/Clint Warwick lineup that saw new members John Lodge and Justin Hayward helping to transmogrify the Moodies into one of the leading if artistically lesser examples of Symphonic Rock. I won’t sully the Prog genre with an inapt association since there was hardly anything progressive about The Moody Blues Mk 2.
