Black Sabbath - Spiral Architect

 #Black Sabbath #Ozzy Osbourne #heavy metal #hard rock #classic rock #heavy blues rock #British blues rock #doom metal #1970s

With 1973's Sabbath Bloody Sabbath, heavy metal godfathers Black Sabbath made a concerted effort to prove their remaining critics wrong by raising their creative stakes and dispensing unprecedented attention to the album's production standards, arrangements, and even the cover artwork. As a result, bold new efforts like the timeless title track, "A National Acrobat," and "Killing Yourself to Live" positively glistened with a newfound level of finesse and maturity, while remaining largely faithful, aesthetically speaking, to the band's signature compositional style. In fact, their sheer songwriting excellence may even have helped to ease the transition for suspicious older fans left yearning for the rough-hewn, brute strength that had made recent triumphs like Master of Reality and Vol. 4 (really, all their previous albums) such undeniable forces of nature. But thanks to Sabbath Bloody Sabbath's nearly flawless execution, even a more adventurous experiment like the string-laden "Spiral Architect," with its tasteful background orchestration, managed to sound surprisingly natural, and in the dreamy instrumental "Fluff," Tony Iommi scored his first truly memorable solo piece. If anything, only the group's at times heavy-handed adoption of synthesizers met with inconsistent consequences, with erstwhile Yes keyboard wizard Rick Wakeman bringing only good things to the memorable "Sabbra Cadabra", while the robotically dull "Who Are You" definitely suffered from synthesizer novelty overkill. All things considered, though, Sabbath Bloody Sabbath was arguably Black Sabbath's fifth masterpiece in four years, and remains an essential item in any heavy metal collection.  From: https://www.allmusic.com/album/sabbath-bloody-sabbath-mw0000194838

Cover by Drew Struzan

BlackLab - Warm Death

 #BlackLab #doom metal #stoner metal #post-metal #shoegaze #sludge #psychedelic metal #witch metal #Japanese #music video

When you hear the phrase ‘dark witch doom’, it’s hard to shake off thoughts of Hammer Horror clichés and the kind of retro-flared, post-hippy rock that took Coven as a starting point and never really bothered to take it anywhere else - thankfully, BlackLab take that label and drag it right into the Stygian mire where it belongs. Originally formed in Osaka as a three-piece, they soon settled on the line-up of Yuko Morino and Chia Shiraishi as the ideal vessel to transport their sound, a colossally loud mix of Sabbathian doom, sludge and noisy punk-tinged insanity. Following on from the success of Under The Strawberry Moon 2.0, a re-recording of early demo tracks made for London’s New Heavy Sounds, they have quickly set about delivering the aptly-titled Abyss in time for a UK tour that, as with so much lately, will have to wait. Still, we have Abyss to vibe to in the meantime so The Sleeping Shaman decided to catch up with the devilish duo, find out where they’re coming from and where they’re yet to take us.

You’re often described as ‘Dark Witch Doom’ - how accurate do you feel that is? Does witchcraft or mysticism play any part in your sound?

Yuko: The person in charge of the shop that handled our self-produced CD used the expression. I liked that so much and then I describe myself so. I think it’s a phrase that expresses the character of the songs and sounds I make well. I like horror movies and mysteries stories, so they may have influenced my creations. When I write songs, I often get inspiration from those visuals. But those stories are not important - it’s just from visual stuff. Foreign media sometimes metamorphose us as Sadako. I welcome that, because she’s a superstar in Japanese horror movies. I believe in mysterious world. But unfortunately, I have no magic or mystery experience. I enjoy them daydreaming.

Chia: The term ‘Dark Witch Doom’ might convey the atmosphere of BlackLab’s sound. I like it. I’m not a witch, but I live on a spiritual basis. I might be a ‘star seed drummer’.

From: https://www.thesleepingshaman.com/interviews/blacklab-interview-with-yuko-chia/

Los Lobos - Reva's House

 #Los Lobos #chicano rock #roots rock #tex-mex #country rock #Americana #cowpunk #blues rock #folk rock #Mexican #1990s

Los Lobos has defined the East Los Angeles sonic landscape for nearly a half century. Following the musical trajectory of giants such as Ritchie Valens and Lalo Guerrero, who melded traditional Mexican music with other popular forms, Los Lobos has carried the torch of Chicano music into the present and has amassed a body of work that will be cherished, studied, and emulated for many years to come.
Formed in 1973 by guitarist/accordionist David Hidalgo and percussionist and lyricist Louie Perez, their joint eclectic musical interests led them to recruit two other students from Garfield High School in East Los Angeles. Guitarist Cesar Rosas and bassist Conrad Lozano joined and they decided to call themselves Los Lobos del Este. As young, music-loving Chicanos from the barrio, they were a product of their surroundings. African-American influences such as the blues, rock n roll, jazz, and doo–wop were a natural complement to the deep and soulful Mexican and Latin American sounds they had grown up with, such as the bolero, rancheras, music Norteña, son jarocho, son huasteco, and cumbias. Los Lobos utilized these multicultural influences to give birth to their unique sound. From back yard family parties, weddings, and Mexican restaurants, Los Lobos was quickly in demand amid the pre- and post- Chicano civil rights movement. In 1978, they recorded and released their first album Los Lobos del Este De Los Angeles (Just Another Band From East LA), which led them to more popularity and to connect them to the versatility and angst of the city’s punk rock music scene. Their association with the LA roots band, the Blasters, led to the addition of multi-instrumentalist Steve Berlin, who left the Blasters to join them, further expanding their sound.
The wildly successful soundtrack of La Bamba (1985) catapulted Los Lobos into international stardom, earning them industry recognition and a Grammy Award. Los Lobos responded to this success by releasing the traditionalist La Pistola y El Corazon (1988).  The band’s accomplishments do not overshadow their ongoing commitment to mentoring and elevating up-and-coming bands that have benefited from their trailblazing, such as Making Movies, Ozomatli, Chicano Batman, La Santa Cecilia, and Quetzal.
A “musician’s band,” Los Lobos’ lyricism and unique poetic prose, mostly manifested by lyricist Louie Perez, expresses the environment and consciousness of the barrio in relation to the world around it. Their delivery in English, Spanish, or Spanglish espouses the important ideas of humanity, pro-immigration, depression, love of self, community, and deep Mexican/Chicano culture and heritage. Each of their albums takes the sound of Chicano rock music into another stratosphere.  From: https://www.arts.gov/honors/heritage/los-lobos

Moby Grape - Indifference

 #Moby Grape #psychedelic rock #acid rock #folk rock #country rock #blues rock #West coast sound #1960s

Mention the name Moby Grape to a roomful of rock critics, and you'll hear nothing but praise for the 1960s San Francisco rock band. But aside from fans and critics, few people today have ever heard of Moby Grape. Why? Bad advice, bad breaks and bad behavior are three short reasons. Now that a label is trying to right these wrongs by reissuing the group's first five records, old problems still stand in the way. The name Moby Grape comes from an absurdist punch line: What's big, purple and swims in the ocean? But the band that influenced groups ranging from Led Zeppelin to The Pretenders was no joke. Neither was its 1967 debut, according to Rolling Stone senior editor David Fricke.
"It's one of the few rock 'n' roll albums of any era that you can say, 'That is a perfect debut album.' The songwriting on it is memorable - you take those songs with you wherever you go. The triple-guitar orchestration - it's not just power chords. Everyone is playing melodies and counter-melodies and rhythms. Very funky, also very country, very punk, very surf. And they were all singers."
When other San Francisco bands were stretching out with long, psychedelic jams, Moby Grape was producing catchy three-minute songs that were composed, played and sung by each member. Moby Grape's drummer, Don Stevenson, calls the songwriting process a "collective consciousness." That "collective consciousness" was a little surprising, since these five guys had little history and a lot of differences. Guitarist Peter Lewis and bassist Bob Mosley came from Southern California surf bands. Stevenson and guitarist Jerry Miller played in organ trios around Seattle. Canadian-born Skip Spence had just left another San Francisco band, Jefferson Airplane. Yet all five members produced remarkably cohesive vocal harmonies.
The members of Moby Grape worked hard to achieve their tight sound, and they first caught the attention of fellow musicians like Buffalo Springfield and Janis Joplin during marathon rehearsals that ran from night until morning. Record-company executives eventually started showing up, and Moby Grape found itself in the middle of a bidding war. It signed with Columbia, which pronounced the band San Francisco's Beatles and spared no expense on its first album. But the label's decision to release five singles at the same time alienated and confused disc jockeys. Rolling Stone's Fricke explains: "Columbia really went to town. And yet they went to town at precisely the wrong time. That was an era when hype was suspect." The musicians didn't handle the hype well, either. At their record release party, some members were busted for pot possession and for contributing to the delinquency of minors. Guitarist Miller says the diversity that made their musical blend so rich was also pulling them apart.
"What we had was five guys just going completely nuts just looking for the leader," Miller says. "We couldn't even lead ourselves." Moby Grape's members grew increasingly frustrated with their manager, whom they believed had botched their chance to be included in the now-famous Monterey Pop Festival film. By the time they reached New York to work on their second album, the band was cracking up - and so was guitarist Spence.
"Skippy bumped into some people that turned him on to some hard drugs, tell you the truth," Miller says. "And that's when things started to unravel, 'cause Skippy started to unravel." In a drug-fueled psychotic episode, Spence attacked Stevenson's hotel-room door with an ax and ended up in the criminal ward of Bellevue Psychiatric Hospital. Sadly, Spence lived much of the rest of his life in California mental institutions.  From: https://www.npr.org/2007/12/21/17498799/moby-grape-just-cant-catch-a-break

The Broken Penis Orchestra - Easy Listening for Difficult People

 #The Broken Penis Orchestra #plunderphonics #noise #experimental #sound art #electronic #sound collage #psychedelic noise

a1 Timothy Leary in his death bed
a2 The pope's pot, penis and pussy
a3 A struggle for supremacy over the axe makes a good man humble
a4 Fornication under the control of the king
a5 Easy listening for difficult people
a6 The whore of Babylon
a7 Ball buster

Lots of collage-weirdness, not for stress-sensitive people. Dick Flick, conductor in chief, displays a wild and twisted array of sound collages that pull your ears through your brain and back again, (not unlike early Negativland or Nurse With Wound).

Leem Lubany - Peace Train

 #Leem Lubany #actress/singer #Israeli #world music #Cat Stevens cover #movie soundtrack #Rock the Kasbah

When noted film director Barry Levinson (Diner, Rain Man, The Natural, Bugsy, Wag the Dog, and many more) first read the script for his new film, Rock the Kasbah, he realized he needed the help of a pop icon: Yusuf Islam—that is, the singer/songwriter formely known as Cat Stevens. In this comedy (dark at times, sweet at times), which opens this weekend, Bill Murray plays a down-and-way-out LA talent manager who has but one act left in his falling-apart stable, a neurotic bar singer (Zooey Deschanel). Yet somehow he finds a gig for her: USO shows in Afghanistan. And off they jet to the war zone, where soon Murray’s only meal ticket abandons him, and he’s stranded in Kabul with no passport, no money, and no way home. Hijinks—and violence—ensue, as Murray falls into the world of sleazy arms dealers, cynical American mercenaries (including a tough guy played by Bruce Willis), and competing tribal warlords. But this is no adventure flick. It’s a tale of cultural and spiritual bridge-building—with laughs—because Murray, stuck at one point in rural Afghanistan, stumbles into a cave and discovers an Afghan teenage girl (Leem Lubany) singing beautifully. And the song she’s covertly crooning is Cat Stevens’ “Trouble.”
From here on, Murray has a mission: to get this Muslim teen on the Afghan version of American Idol, which has never featured a female performer. The film is based, as they say, on a true story, and the real-life Afghan woman who appeared on this television show, Setara Hussainzada, confronted tremendous opposition from religious and cultural conservatives; she even received death threats and fled Afghanistan for exile in Germany. Levinson’s film tracks a tale of female empowerment in the Muslim world, while — get this!— being respectful of the society it portrays. Most of the laughs it generates are at the expense of Murray’s character, not cheap gags aimed at the natives. As Levinson put it, he was looking to craft “a humanistic, dramatic comedy that dealt with the Muslim world in Afghanistan.”
The script, penned by Mitch Glazer (Scrooged, Great Expectations) had been knocking about Hollywood for years without being made, even though marquis-name Murray was attached to the project. “It was too foreign some said,” Levinson explains in a blog post. “Too much about that part of the world, not enough action, not a war film, too much about people, and in whispers, too much about Muslims.” But Levinson, Glazer, and the rest of the film’s team were able to get the movie going on a basement budget (just $15 million) — with the actors pocketing lower-than-usual rates — but they needed the okay of Yusaf Islam. At least, to a certain extent. Several Cat Stevens songs play a critical role in the movie, so much so that Stevens is something of an unseen co-star. And the film’s climax—slight spoiler alert—makes effective use of his anthemic “Peace Train.” So when Levinson read Glazer’s script and saw that it included these tunes, he asked, “Do we have the rights?” Not yet, he was told.
Usually, it’s not a big deal for a director to obtain the rights to use music in a film. The music supervisor contacts the folks who control the rights to a song and negotiates a deal. But it was not so simple in this case. Yusuf wanted to meet Levinson and Glazer. So on a spring afternoon in New York City, hours before Yusuf was to be inducted into the Rock and Roll Hall of Fame, he and Glazer met with the singer at his hotel. There was a bit of apprehension on the filmmakers’ part. If Yusuf said no, they weren’t sure what they would do. “We didn’t know what we could use instead, what would get us there,” Levinson says. The Cat Stevens songs were instrumental to the story. (After all, how many Muslim-Western mega pop stars are there?) Yusuf had been sent a copy of the script, and shortly after the introductions were done, Levinson and Glazer were relieved: He liked the story and was excited by the prospect of being involved in the project. “He wanted to make sure his music was being used appropriately,” Levinson says. “And he saw exactly what we were trying to do with the whole idea of an Afghan Muslim young woman so taken with his music that she becomes a pop star and remains a Muslim.” Islam gave them a green light. “It was a key element to get into place,” Levinson notes.  From: https://www.motherjones.com/politics/2015/10/cat-stevens-rock-the-kasbah-bill-murray-barry-levinson/

Octopus - Beyond the Center

 #Octopus #stoner rock #blues rock #hard rock #heavy metal #psychedelic rock #1970s retro #music video

Led by powerhouse vocalist Masha Marjieh and guitarist J Frezzatto (ex-Electric Six) and including ex-Big Chief bassist Matt O’Brien, the band soaks hard riffs and otherworldly atmospheres in wah-wah guitars, out-of-phase tones, grimy organ and a general sense of the children having pillaged the psychedelic pantry a few times before hitting the studio. Heavier than your average 70s-worshipping gang of stoners, but more colorful than unrefined metallic sludge, Octopus' Supernatural Alliance will rattle your lobes and juice your ‘nads.  From: https://octopus888official.bandcamp.com/album/supernatural-alliance-2

Spring is in the air. Depending on where you reside, this may or may not be a big deal. For those not residing in a paradise climate, this signifies the coming of tolerable temps and more regular doses of some much-needed vitamin D. It’s also a signifier that we can soon roll the car windows down, crank the jams, and make our best Maxell “Blown Away Guy” impression. With that in mind, red-eyed headbangers everywhere should be champing at the bit to blast the debut record from Detroit’s Octopus out in the open (and springtime-y, flowery, sunshiney) air. Supernatural Alliance beams with an invigorating, revitalizing energy that the rock ‘n’ roll (and our seasonal affective disorder) has been missing lately. One look at that album cover should give you an idea of exactly what you’re in for: fantasy, sci-fi, ardor, majesty, and triumph.
Still, like their aqueous namesake, Octopus are a slippery group to tack down in spite of their mostly retro tendencies. Sometimes you get a Master of Reality-era Iommi stomp complete with undulating tom work (“Beyond The Center”), others a nearly Blue Öyster Cult haunt (“Sword and the Stone”). Then there’s moments like the overdriven title track where they mesh a full-commit stoner rock lead with a glossy, celestial synth foundation, leavening things to a smooth and almost floaty glide. By shifting the weight of the song to the full-throated powerhouse chorus, there’s a nifty dynamic balancing act taking place that never leaves the track feeling thin or uneven. This consistent shapeshifting becomes a varied and eclectic package,  the band to touch upon many throwback microcosms. Masha Marjieh’s commanding vocals bind everything together nicely. Her power and delivery suit the high intensity regimen the group doles out, and she handles herself well during the albums few dialed back moments. Album standout “All the Love” (which brings to mind “Planet Caravan” in all the best ways), slows things down at the perfect moment – disarming listeners before they surface again with a potent closing duo.
While a synthy foundation beds most of the record, they avoid entering corny waters that seemed to have doomed everyone in the 80s. Octopus masterfully modernize the keyboard-driven, shag-carpeted sound. A perfect world would have “Strike (While the Iron is Hot)” playing in the background of a dim and smoky pool hall where too-cool-for-school lyrics like “I see that the squeeze ain’t worth the juice” can be said un-ironically and the clapped-along gang vocal chorus can be belted out with reckless abandon – it’s basically modernized Joan Jett in terms of ‘tude and songwriting acumen – what more can you want? Little touches like the way Adam Cox’s piano key slides cozy up with ferocious organ roars put this track over the top, it’s an approachable, yet dense pop track.
Psych rock has largely been a west coast staple, but if the waves made here by Octopus are any indication, we might not be looking coastward for the next great offering of stellar metallic psychedelia. Supernatural Alliance is an eye-opening debut, delivering the goods like seasoned vets instead of stumbling on their first rodeo. It’s a pleasure to hear a band craft something this well-rounded with such confidence, much less as a first impression. There will be obvious parallels to be drawn to Vancouver’s Black Mountain (keyboard/synth heavy compositions, superbly tight songwriting, stylistic variety), which is about as great as a compliment as there can be for this particular style of stoner rock.
From: https://www.heavyblogisheavy.com/2018/03/22/octopus-supernatural-alliance/ 

Steppenwolf - Don't Step On The Grass, Sam

 #Steppenwolf #psychedelic rock #blues rock #acid rock #hard rock #Canadian #1960s #1970s

Starin' at the boob tube, turnin' on the big knob
Tryin' to find some life in the waste land
Fin'ly found a program, gonna deal with Mary Jane
Ready for a trip into hate land
Obnoxious Joe comes on the screen
Along with his guest self-righteous Sam
And one more guy who doesn't count
His hair and clothes are too far out

While pushin' back his glasses Sam is sayin' casually
"I was elected by the masses"
And with that in mind he starts to unwind
A vicious attack on the finest of grasses

Well it's evil, wicked, mean and nasty
(Don't step on the grass, Sam)
And it will ruin our fair country
(Don't be such an ass, Sam)
Well, it will hook your Sue and Johnny
(You're so full of bull, Sam)
All will pay that disagree with me
(Please give up you already lost the fight, alright)

Misinformation Sam and Joe
Are feeding to the nation
But the one who didn't count counted them out
By exposing all their false quotations
Faced by a very awkward situation
This is all he'd say to save the day

Well it's evil, wicked, mean and nasty
(Don't step on the grass, Sam)
And it will ruin our fair country
(Don't be such an ass, Sam)
Well, it will hook your Sue and Johnny
(You're so full of bull, Sam)
All will pay that disagree with me
(Please give up you already lost the fight alright)

You waste my coin Sam, all you can
To jail my fellow man
For smoking all the noble weed
You need much more than him
You've been telling lies so long
Some believe they're true
So they close their eyes to things
You have no right to do
Just as soon as you are gone
Hope will start to climb
Please don't stay around too long
You're wasting precious time 

Porno For Pyros - Tahitian Moon

 #Porno For Pyros #Perry Farrell #alternative rock #psychedelic rock #indie rock #funk metal #heavy metal #neo-psychedelia #space rock revival #1990s #ex-Jane's Addiction

Perry Farrell's post-Jane's Addiction band, Porno for Pyros, followed the same path as his previous band, combining art rock, punk, heavy metal, and funk into one shrieking whole. On their self-titled 1993 debut, Farrell's pretensions got out of hand at times, resulting in some ridiculously self-absorbed conceptual pieces sitting next to some straightforward rockers and pop songs. While he prepared new Porno material in 1994, Farrell returned to the organization of Lollapalooza - the traveling rock festival he conceived - for the first time since 1992. The band released Good Gods Urge in 1996. Although Good Gods Urge was a successful release from both an artistic and musical standpoint, the album disappeared from the charts shortly after its release. On the album's ensuing tour, former Minutemen/Firehorse bassist Mike Watt filled in for the departed Maryn LeNoble, and to the delight of longtime Jane's Addiction fans, guitarist Dave Navarro was a special surprise guest on select dates as well. After the album's ensuing tour wrapped up in early 1997 (and a pair of Porno for Pyros songs appeared on the motion picture soundtracks for The Cable Guy and Private Parts), Farrell promptly ended the group, and focused on a solo recording career as well as sporadic Jane's Addiction reunion shows.  From: https://www.allmusic.com/artist/porno-for-pyros-mn0000355208/biography

Laura Love - Bad Feeling

 #Laura Love #folk #Afro-Celtic #Americana #Afro-Carribean #folk rock #funk #R&B #world music #singer-songwriter

Over the past several years, Laura Love has become quite acclaimed in the Northwest music scene as an unparalleled vocalist, bassist, and songwriter. Love's style is a synthesis of inner-city funk and folk-ish sensibility. One of the most difficult tasks for a musician is to find an apt label for her music; folk/funk, African/Appalachian, and House/Celtic have been bandied about for Laura Love. Whatever you choose to call it, Love's original music is at once fresh, def, and rooted in tradition. Although a popular headliner in her own right, she has opened for John Lee Hooker, Lyle Lovett, Bo Diddley, Karla Bonoff, and Elayne Boosler and been invited to perform at a number of folk and eclectic music festivals. Born in Lincoln, Nebraska, Laura Love began her career at the age of 16, singing jazz and pop standards at the Nebraska State Penitentiary. Since then, Love has played in a blues-grunge outfit, in a duo, trio, and in the funny feminist foursome, Venus Envy. Love has released three albums: Menstrual Hut (1989), Z Therapy (1990), and Pangaea (1993), all on her own label, Octoroon Biography. Shum Ticky followed in 1998 and Fourteen Days arrived in 2000 on Zoe Records.  From: https://www.allmusic.com/artist/laura-love-mn0000116761/biography

Singer-songwriter Laura Love isn't yet a household name, but she's done pretty well for an African-American woman who grew up in abject poverty in Nebraska - a place where other black faces like hers were few and far between. She's got her own flavor of music she calls folk-funk, and has sold more than 200,000 records over the span of her short and very independent career. Her latest creative blast is a combination memoir and CD of songs inspired by the trials during her young life, You Ain't Got No Easter Clothes. Love's life story isn't an easy one, but her words and music convey a wry wit and deep sense of joy and humor. Almost all of the songs on the You Ain't Got No Easter Clothes CD were composed at the same time she wrote her memoir. The book reveals Love's often shocking struggle against adversity - her mother's mental illness, the family's deep poverty, her stays in foster homes and other setbacks. But instead of hitting back, Love's words and music recall the gratitude, joy and sense of humor that characterize her outlook on life.  From: https://www.npr.org/2004/08/26/3871856/laura-love-two-for-easter 

Kuunatic - Tītián

 #Kuunatic #psychedelic rock #experimental rock #progressive rock #folk rock #noise rock #post-punk #avant-garde #Japanese #animated music video

Kuunatic is a thrilling Tokyo based tribal-psych trio bolstered by diverse global sonics and powerful female vocals. Drawing on the members’ different musical and cultural perspectives, their music explores ritual drumming, pulsing bass lines, atmospheric keyboard sounds and Japanese traditional instruments. Having previously released an EP (“Kuurandia” 2017) as well as a split 7” (with Taiwanese fuzz psych garage band Crocodelia), “Gate of Klüna” is Kuunatic’s much awaited debut album. Produced by Tim DeWit (Gang Gang Dance) the record reveals a mesmerizing sound world that transcends genres and hemispheres and succeeds in being both boldly experimental and wildly catchy. Kuunatic are Fumie Kikuchi on keys and vocals, Yuko Araki on drums and vocals and Shoko Yoshida on bass and vocals. The possibilities to project onto Kuunatic’s music are endless. This is because the band has created that rare thing: catchy music that is impossible to pigeonhole. The track ‘Lava Naksh’ is a form of renaissance dance; a pavane, maybe, albeit with Kraftwerk’s early organ sound. ‘Full Moon Spree’ could be a ritual version of The Fall’s ‘What You Need’. ‘Raven’s War’ is a dry-as-dust progressive soundtrack, it could be a lost cut from the Valley of the Dolls record. The transportative elements in all are key: certain beats and near-melismatic melody lines hark back to archaic processional and ritual music. In ‘Desert Empress Part II’ for example, a glowering bass line walks ponderously alongside the toms, framing and guiding the mood. Finishing matters off with what sounds like a backwards organ is also discombobulating. Such sonic sleights of hand are part of the Kuunatic playbook.  From: https://swampbooking.com/kuunatic/

Stevie Wonder - Living for the City

 #Stevie Wonder #Motown #soul #R&B #pop soul #funk #rock #gospel #jazz #progressive soul #1970s

Inspired in part by the fatal shooting in New York of a ten-year-old black boy by a white plain-clothes policeman, the audacious centerpiece of Stevie Wonder’s experimental 1973 album was a seven-and-a-half-minute meditation on the brutality of black America: Living for the City. Just as Wonder’s saccharine, middle-of-the-road smash hit You Are the Sunshine of My Life was selling millions around the world, the virtuoso former child star was busy in the studio pioneering the sound of black music by recording a concept album: Innervisions. Expanding on the ambitions of Talking Book the year before, it would secure his transformation from Motown pop star to legendary artist and activist.
Meanwhile, early on the morning of April 28th, 1973, Clifford “Cleophus” Glover was walking with his 51 year-old stepfather along New York Boulevard in Jamaica, Queens, New York when a white Buick Skylark drew up alongside them and a white man got out of the car shouting “You black son of a bitch!” and started shooting at them. They ran for their lives, but Cliffie did not make it. Police Officer Thomas Shea claimed that Add Armstead and his stepson resembled two known thieves – thieves who had been described as around 24 years of age and about six feet tall. Shea, who became the first police officer in almost 50 years to be charged with committing murder while on duty, claimed that the child had reached for a gun. Forensic evidence proved that the ten-year-old had been shot in the back; no evidence of a gun was ever found. Thomas Shea lost his job on the force, but in June 1974 a jury of 11 white men and one black woman found him not guilty of murder and he walked away a free man. Riots had followed the initial shooting and worse still came when the verdict was announced. Hundreds took to the streets. White children playing baseball were attacked by angry rioters on a local playing field. Cars were turned over and burned and two police officers were injured by rioters.
Stevie Wonder attended the funeral of Cleophus Glover, and sang for the congregation as the procession left the church. “I have followed the case,” he told Jet magazine. “It brings America down another notch in my book. I hope that black people realise how serious things are and do something about it”. This was the burning issue on Stevie Wonder’s mind as he wrote the epic Living for The City. With an infectious funk swagger – and complete with authentic street noise sound effects, spoken dialogue and the poignant slamming of a jail door – Living For The City contains a cinematic intermission that tells the fictional story of a wide-eyed innocent who comes to the big city to make his fortune and finds himself quickly duped into becoming a drug runner, arrested by the police and sentenced to ten years behind bars. There is not a lot of hope in this tale of the boy from “Hard Times, Mississippi” – his dreams are crushed and any prospects of a productive future along with them. Far from finding a welcoming community and useful work, he is plunged into a heartless ghetto populated by unscrupulous gangsters in a city controlled by a draconian white establishment. As the story concludes we hear a jailer yelling: “Get in the cell, nigger!” brutally underlining the unfeeling institutionalized racism. There is no happy ending in this potted saga. As Stevie gruffly sings: “If we don’t change, the world will soon be over.”  From: https://www.musicto.com/active/fight-evil/living-for-the-city-stevie-wonder/

The Babe Rainbow - Secret Enchanted Broccoli Forest

 #The Babe Rainbow #psychedelic rock #neo-psychedelia #psychedelic pop #alternative rock #indie rock #retro-1960s #stoner pop #Australian

Australian neo-psych outfit the Babe Rainbow first introduced themselves in 2015 with a sprinkling of cheery nuggets like "Ashmay & Dr. Love Wisdom" and "Secret Enchanted Broccoli Forest." The trio's affable take on cosmic Donovan-inspired flower pop won them a contract with Danger Mouse's 30th Century Records imprint, which offers up this eponymous full-length debut. Natives of the coastal surfing town of Byron Bay, New South Wales, the Babe Rainbow comprise singer/drummer Angus Dowling, guitarist Jack "Cool-Breeze" Crowther, and bassist Lu-Lu-Felix Domingo, who collectively espouse the sunny peaceful vibes of late-'60s California in their music and imagery while folding in elements of modern psych and electronic experimentation. Recorded in their hometown by King Gizzard & the Lizard Wizard frontman Stu Mackenzie, the LP is a generally lighthearted affair, though the Babes are no slouches in terms of craftsmanship. Layered throughout with spry riffs, jazzy instrumentation, and attractive grooves, the record comes across as more of a vibe generator than a dazzling display of songwriting. While standouts like "Losing Something" and "Survival in the 21st Century" offer more thoughtful pop missives, the bulk of the album is concerned with fun grooves and textures.  From: https://www.allmusic.com/album/the-babe-rainbow-mw0003062347

Paula Cole - Mississippi

 #Paula Cole #singer-songwriter #alternative rock #alternative pop rock #indie rock #art rock #piano rock #1990s

I may have gotten here because of Dawson's Creek, but I am staying for the wonderful blend of 90s alt-rock and art pop on Paula Coles’ This Fire! Paula Cole, the winner of Best New Artist 1998, released a searing critique of the men in her life with some more marketable songs tossed in for good measure. When Cole can blend the acerbic edge of her 1990s sisters with the art-pop sensibilities of a musician like Kate Bush, she is unstoppable. 'Where Have All the Cowboys Gone?' feels particularly relevant in the current cultural moment. In fact, Cole's question predicts the shifting archetypes of American Heroism that artists (Mitski, Lil Nas X, Mac) continue to think about today. Paula Cole does a good job at maintaining the same level of intensity throughout, and she has an ear for thoughtful production and fantastic images. She utilizes religious imagery, in particular, to think about her relationship to history. Take, for example, the crazed, 'Throwing Stones,' where Paula matches her intense vocals with equally fierce lyrics and a piano that just won't quit. 'So call me a bitch in heat, I'll call you a liar' Cole screams on each chorus; Her voice feels sharp and violent. She partners this with the story of David and Goliath, conflating her experience with biblical struggles. It's a powerful moment that feels challenging, but the song maintains a catchy chorus that helps the sentiment get stuck in your head. Paula Cole's This Fire manages to be compelling throughout while not sounding too one-note. While I think there are direct comparisons to Kate Bush, Cole's music manages to differentiate itself by embracing the guitars and pianos of alternative rock. Her music is a little rough at times, but the creativity behind this music is fantastic. If you only know, 'I Don't Want To Wait,' give the rest of the album a chance!  From: https://www.albumoftheyear.org/user/musicmagpie55/album/26256-this-fire/

Black Moth - Moonbow

 #Black Moth #Harriet Hyde #stoner rock #heavy metal #hard rock #grunge #alternative rock #indie rock #music video

Posed by one scribe as 'an onslaught of monumental riff sorcery and serpentine grace' Black Moth rose from the Leeds underground scene at the end of 2010, indulging their love for both Sabbath sulphur and Stooges squalor. Equal parts horror movie atmosphere, thunderous drive and maverick spark, with Harriet Bevan's biting and beguiling voice leading the charge.  From: https://blackmothband.bandcamp.com/

This weekend, Leeds-via-London stoner metallers Black Moth will play their final shows. After breaking onto the scene in 2012 with debut full-length The Killing Jar, they harnessed the power of the occult and the morose with a healthy dose of Black Sabbath, Nick Cave and Uncle Acid to become one of the brightest lights in the British stoner/doom scene. However, such is life, circumstances didn't work in their favour. Their final album, Anatomical Venus, was recorded a year before it was eventually released, which ultimately slowed the band's momentum – leaving over three years between records.
"The album was done but we weren’t out there promoting it," vocalist Harriet Hyde tells Kerrang! from the comfort of a north London pub. "Although we did some really nice things off the back of it. We toured with L7, played with Sleep, which for us were ultimates. Hearing Donita (Sparks, L7 vocalist) say to the crowd that I was their frozen embryo child (laughs)… It genuinely made me cry.” Couple the delay with the fact that Black Moth's lineup are split across England – two members living in London, and three living in Leeds – made touring and rehearsal a trying ordeal.
"I quit so many jobs because we’d been offered a tour, and you can only do that for so long. What’s sad is you’ve got five people who have this incredible chemistry for making music together, but it all ends up being frustrating because you can’t scrape two hours together on a Friday night." Logistically, it became impossible to carry on. Harriet herself was burning out, using every available holiday she had to go on tour, she never found time to actually rest. "There was a heartbreaking moment where we were playing Vienna on tour and I was desperate to go see Vienna. Did I see it? Did I fuck!" she laughs. "I saw the back of a van then a venue, then we left." Ultimately, Harriet wrote the band an email, calling time on Black Moth. Admitting it was a hard pill to swallow initially, the rest of the band agreed that the band should leave it at the three albums they're proud of, instead of "pissing it away and falling out."
From: https://www.kerrang.com/a-farewell-to-the-perverted-darkness-of-black-moth

The Jayhawks - Save It For A Rainy Day

 #The Jayhawks #Gary Louris #Mark Olson #alternative rock #country rock #alt-country #folk rock #Americana #roots rock #1990s

I once heard The Jayhawks described as the “greatest Lutheran bar band ever,” and though I’m still not exactly sure what that means, I know I like it. It’s certainly better than the “alt-country pioneers” label they normally get saddled with. Or worse, heirs of Gram Parsons’ “cosmic American music” legacy. (Which is not a knock on Gram in any way, just on the flaky non-genre he coined). My own description would be: jangly God-haunted Midwestern country-folk with fuzz guitars and harmonies that essentially define the phrase “sandpaper-and-honey.” But even that doesn’t cover the oddly circular progression they’ve undergone, from breezy singer-songwriters to arty and somewhat angsty recordmakers, and back again. Regardless of how they’re categorized, The Jayhawks are an American treasure, responsible for at least four brilliant albums, two of which feature co-founder/-lead singer Mark Olson (Hollywood Town Hall and Tomorrow The Green Grass), two of which don’t (Sound of Lies and Rainy Day Music are exclusively Gary Louris-led affairs).  From: https://mbird.com/music/weds-morning-jayhawks-mark-olsons-still/ 

Traffic - Every Mother's Son

 #Traffic #Steve Winwood #Dave Mason #Jim Capaldi #psychedelic rock #progressive rock #British psychedelia #blues rock #jazz rock #folk rock #1960s #1970s

At only 22 years old, Steve Winwood sat down in early 1970 to fulfill a contractual commitment by making his first solo album, on which he intended to play all the instruments himself. The record got as far as one backing track produced by Guy Stevens, "Stranger to Himself," before Winwood called his erstwhile partner from Traffic, Jim Capaldi, in to help out. The two completed a second track, "Every Mother's Son," then, with Winwood and Island Records chief Chris Blackwell moving to the production chores, brought in a third Traffic member, Chris Wood, to work on the sessions. Thus, Traffic, dead and buried for more than a year, was reborn. The band's new approach was closer to what it perhaps should have been back in 1967, basically a showcase for Winwood's voice and instrumental work, with Wood adding reed parts and Capaldi drumming and occasionally singing harmony vocals. If the original Traffic bowed to the perceived commercial necessity of crafting hit singles, the new Traffic was more interested in stretching out. Heretofore, no studio recording had run longer than the five-and-a-half minutes of "Dear Mr. Fantasy," but four of the six selections on John Barleycorn Must Die exceeded six minutes. Winwood and company used the time to play extended instrumental variations on compelling folk and jazz-derived riffs. Five of the six songs had lyrics, and their tone of disaffection was typical of earlier Capaldi sentiments. But the vocal sections of the songs merely served as excuses for Winwood to exercise his expressive voice as punctuation to the extended instrumental sections. As such, John Barleycorn Must Die moved beyond the jamming that had characterized some of Traffic's 1968 work to approach the emerging field of jazz-rock.  From: https://www.allmusic.com/album/john-barleycorn-must-die-mw0000197791

The Grip Weeds - All Tomorrow's Parties

 #The Grip Weeds #power pop #psychedelic rock #psychedelic pop rock #alternative rock #indie rock #folk-pop #Velvet Underground cover

The Grip Weeds: A powerhouse pop-psyche band extraordinaire who write insanely gripping melodic nuggets - a gorgeous alchemy of the 60's and 70's brought into the 21st century, with ripping guitars, explosive drumming and golden harmonies. Bands like The Grip Weeds usually aren’t built to last. The clichéd “personal and musical differences”, changing tastes and Father Time have brought down most of the greatest bands in history. And yet, over two decades and counting after their debut album House Of Vibes, The Grip Weeds continue to survive, thrive, surprise and innovate. They do it on their own terms, defiantly refusing to play the usual major label/name producer/big time studio game. Critics, while praising The Grip Weeds, often try to pigeonhole them with the “Power Pop” label. This is a bit of a misnomer. While there are plenty of driving, poppy melodies, chiming guitars and close harmonies, The Grip Weeds’ releases have sported many different styles of original material, from Psychedelic and Garage Rock to Folk-based ballads and thought-provoking social commentary. This diversity has landed several Grip Weeds songs on the top of the Little Steven’s Underground Garage "Coolest Song In The World” list, as well as placed Grip Weeds music in several television and film projects.  From: https://www.gripweeds.com/bio/biom.html

Rïcïnn - Doris

 #Rïcïnn #Laure Le Prunenec #neoclassical darkwave #art pop #avant-garde metal #baroque pop #experimental #gothic rock #French #animated music video

Laure Le Prunenec returns with another avant-garde masterpiece on her solo project Rïcïnn's sophomore album Nereïd, mixing classical influences with folk, electronics, and gothic sounds. Laure Le Prunenec is well-known for her work, among all those who enjoy the more experimental and avant-garde end of dark music. Her operatic vocal delivery on Igorrr, Öxxö Xööx, and Corpo-Mente has rightfully earned her a strong fan following, but what often flies under the radar is her solo work under the moniker of Rïcïnn – a captivating project, whose debut Lïan in 2016 put Le Prunenec’s vocals front and center, while bringing together bits of all the previously mentioned projects, to form a colossal masterpiece unlike any other. Four years later, Rïcïnn returns, taking a broader yet nuanced approach with a sophomore full-length – Nereïd. What made Rïcïnn‘s debut stand apart from her other projects is that it showcased Le Prunenec in her most expressive form, free from any restraints on style. Yet Lïan was just the first step of expression for Le Prunenec, whereas Nereïd sees her break all the shackles and soar high. The multiple layering of the vocals is more refined, and the vocal delivery has an even wider variety.  From: https://everythingisnoise.net/reviews/ricinn-nereid/

Jethro Tull - Nothing Is Easy

 #Jethro Tull #Ian Anderson #progressive rock #folk rock #hard rock #blues rock #British folk rock #art rock #classic rock #progressive folk #1970s

No, Jethro Tull is not just another English blues band. ‘This Was’, their first album, made some gestures in that direction, obligatory, in a way, for the time (summer of 1968); in its differences it was intriguing even as it disappointed. Its inadequacies were unconventional; the essential problem seemed to be a style in search of a subject. Bob Dylan once said that the English know how to pronounce “marvelous” better than Americans, but that they have a little trouble with “raunchy.” ‘Stand Up!’, Jethro Tull’s new album, has a fairly low raunch quotient, true to form, but it is quite marvelous. For one thing, the band’s orientation is more definite than before. With the removal of Rick Abrahams to form Blodwyn Pig, the musical tug-of-war which could be heard on the first album has here been effectively curtailed. Ian Anderson simply dominates the proceedings — doing all the writing and singing, and playing a potpourri of instruments. He reveals a melodic gift on this album not apparent on the earlier one, a fuller awareness of the coloristic possibilities of the flute, and a catholicity of taste. ‘Stand Up!’ has great textural interest, due, in part, to a more sophisticated recording technique, in part to the organ, mandolin, balalaika, etc., which Anderson plays to enrich each song. The band is able to work with different musical styles, but without a trace of the facile, glib manipulation which strains for attention. I can hear ethnic influences throughout the album — a hint of Greek rhythms on the flute break of “We Used to Know” and in the body of “For a Thousand Mothers” — but they are too well assimilated to be easily pinpointed. “Bourree” has that unmistakable baroque swing, a suggestion of the traditional English round, some jazz interludes, and a straight-forward yet breathtaking bass solo before, it winds its way to completion. “Jeffrey Goes to Leicester Square” has a sense of the vague, charming disorganization of medieval music. “Look into the Sun,” which finishes side one, is in its melodic twists and turns, a song of genuine poignance, with Martin Barre’s guitar playing a model of lyricism and understatement.  From: https://www.rollingstone.com/music/music-album-reviews/stand-up-192622/