HENRY ROLLINS
Live At McCabe's - (1990)

A shorter release from the man, but still chock-full of awesome adventures. "I Wish Someone Had Told Me" and "Misunderstanding" are two of his best stories — not just for the content, but for the sheer wit of the delivery. Any fan of good spoken word will want this. "On June 9 & 10 1990, I shard the McCabe's stage with Exene Cervenka and Hubert Selby, Jr. As I remember is was a good time. Thanks for listening. "- Henry Rollins

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WALL OF VOODOO
Call Of The West - (1982)

Wall of Voodoo's second full-length album, Call of the West, was a noticeably more approachable work than their debut, Dark Continent, and it even scored a fluke hit single, "Mexican Radio," a loopy little number about puzzled American tourists that's easily the catchiest thing on the album. But while Wall of Voodoo's textures had gotten a bit less abrasive with time, the band's oddball minor-key approach was still a long way from synth pop, and frontman Stan Ridgway's songs were Americana at it's darkest and least forgiving, full of tales of ordinary folks with little in the way of hopes or dreams, getting by on illusions that seem more like a willful denial of the truth the closer you get to them. There's a quiet tragedy in the ruined suburbanites of "Lost Weekend" and the emotionally stranded working stiff of "Factory," and the title song, which follows some Middle American sad sack as he chases a vague and hopeless dream in California, is as close as pop music has gotten to capturing the bitter chaos of the final chapter of Nathaniel West's The Day of the Locust. In other words, anyone who bought Call of the West figuring it would feature another nine off-kilter pop tunes like "Mexican Radio" probably recoiled in horror by the time they got to the end of side two. But there's an intelligence and wounded compassion in the album's gallery of lost souls, and there's enough bite in the music that it remains satisfying two decades on. Call of the West is that rare example of a new wave band scoring a fluke success with what was also their most satisfying album. (allmusic.com)

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FLYING LOTUS
Los Angeles - (2008)

Before he started experimenting with left-field hip-hop beats and electronic samples, Steven Ellison, aka Flying Lotus, experienced a moment of enlightenment. While filming a documentary about his great aunt/spiritual advisor Alice Coltrane and his cousin Ravi Coltrane, their cab driver asked if they were musicians. Alice responded that, in fact, the three of them were, except Steven didn't know it yet. It was a turning point, and soon after, when he viewed an ad challenging aspiring beat-makers to send in music to be used for Cartoon Network's Adult Swim bumpers, he took a chance on a whim, sent out a demo, and landed himself a paid position pumping out silky tracks for promos of his favorite shows. As an avid gamer, it was only natural that he would create downtempo Boards of Canada beats sauced with retro 8-bit bleeps and chimes, and these were a perfect fit for the Nintendo generation fan base of Adult Swim. Lotus' second full-length, Los Angeles, expands on fractured Zelda grooves, muddy bass stamps, and glitched drum loops to stir up nonintrusive computer chillout music modeled for a hip graphic designer's headphones. It could be considered headphone candy, but with the beats as liquefied and squishy as they are, headphone Slushee is more appropriate. "Golden Diva" rides the line between cold and sugary, crackling and popping like melting ice as carbonated hiss rotates in and out of the void behind unintelligible syllables diced together from stray vocal bits. In the same fashion, "GNG BNG" flips a Middle Eastern sitar groove into a mangled keyboard line slithering over a distorted rototom beat, before dropping down into "Auntie's Lock" to end the album in a quiet hush with breathy whispers over electronic piano loops. Like 2006's 1983, the patterns are subtly atmospheric and individual grooves feel tailored for the attention deficient, never lingering for very long before switching into a new tapestry. Loaded with 17 tracks, it's an entertaining and fitting addition to the Warp catalog that makes for some highly hypnotic video arcade/coffee parlor mood music. (allmusic.com)

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YOUNG WIDOWS
Split Series Vol 1-4 - (2009)

Following on the heels of their breakthrough Old Wounds album, Young Widows have assembled an all-killer-no-filler split single series, featuring new, unreleased Young Widows jams, split up over four separate 7" singles, accompanied by a handful of their favorite friends and artists on the opposite sides of each single. Those artists include Bonnie 'Prince' Billy, Melt-Banana, Pelican, and My Disco. All songs by all artists are brand new and exclusive to this series. Each single is strictly limited to a one-time pressing of 2,000 copies. The artwork for the four singles fits together to form one large, beautiful puzzled image. This posting includes only the tracks from The Young Widows and they are more of what you would expect to hear if you are a fan of the killer Old Wounds album.

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*** 7" SINGLE ***
SCHWUMP
Aphids In The Hall / You're A Martian / Home - (1976)



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LOW
I Could Live In Hope - (1994)

Like so many of their contemporaries, Low are repeatedly lumped into numerous derivative and nondescript headings intended to encompass slow-paced, instrument-driven music that maintains an indie aesthetic. Quite simply, no category can truly reveal the beauty and glory of Low's debut record I Could Live in Hope. Sad core? Not even close! I Could Live in Hope is an incredibly joyous journey of spirit and songwriting sensibility. The record remains patient and sparse throughout (just guitar, bass, high hat, and snare, and angelic vocals by the husband and wife team of Alan Sparhawk and Mimi Parker), but succeeds beautifully. Low truly behold the gift of understatement. Working with long-time producer and New York underground mainstay Kramer, Low examine their own fears and haunting experiences, occasionally linking them with Biblical references, while consoling listeners with warm layers of ethereal vocals and waves of guitar reverberation. Tracks are simple one-word titles but that's all that they require — too much information would spoil the record's elegance. And that's probably why they open the record with "Words," a song about the overuse and misuse of language, that sets the tone for the entire album, right up to their plaintive and passionate cover of "You Are My Sunshine." Every small nuance of production is evident — Sparhawk's fingers not quite connecting on a chord change or sliding over a fret and echoing infinitely — making I Could Live in Hope a true testament to both Low and Kramer's penchant for capturing the lushest of soundscapes.

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ORNETTE COLEMAN
The Shape Of Jazz To Come - (1959)

Ornette Coleman's Atlantic debut, The Shape of Jazz to Come, was a watershed event in the genesis of avant-garde jazz, profoundly steering its future course and throwing down a gauntlet that some still haven't come to grips with. The record shattered traditional concepts of harmony in jazz, getting rid of not only the piano player but the whole idea of concretely outlined chord changes. The pieces here follow almost no predetermined harmonic structure, which allows Coleman and partner Don Cherry an unprecedented freedom to take the melodies of their solo lines wherever they felt like going in the moment, regardless of what the piece's tonal center had seemed to be. Plus, this was the first time Coleman recorded with a rhythm section — bassist Charlie Haden and drummer Billy Higgins — that was loose and open-eared enough to follow his already controversial conception. Coleman's ideals of freedom in jazz made him a feared radical in some quarters; there was much carping about his music flying off in all directions, with little direct relation to the original theme statements. If only those critics could have known how far out things would get in just a few short years; in hindsight, it's hard to see just what the fuss was about, since this is an accessible, frequently swinging record. It's true that Coleman's piercing, wailing alto squeals and vocalized effects weren't much beholden to conventional technique, and that his themes often followed unpredictable courses, and that the group's improvisations were very free-associative. But at this point, Coleman's desire for freedom was directly related to his sense of melody — which was free-flowing, yes, but still very melodic. Of the individual pieces, the haunting "Lonely Woman" is a stone-cold classic, and "Congeniality" and "Peace" aren't far behind. Any understanding of jazz's avant-garde should begin here. (allmusic.com)

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