wnyc.org: "Carla's been a veritable lynchpin in the Los Angeles music scene for years, creating a wildly diverse body of work performing in punk bands, meditative experimental ensembles as well as country outfits (covering Willie Nelson's "Red Headed Stranger" LP a few years back). She's currently on tour for "Evangelista", one hell of a sonic exorcism if there ever was one, full of devastating vocal performances aided by instrumentalists from Montreal's Constellation label scene." Listen here
allmusic.com: One of the longest-lived underground rock groups (if not the longest-lived), the Red Krayola lasted through the birth pangs of psychedelia past the death throes of post-punk. The one constant in its ever-shifting lineup was principal singer/songwriter/visionary Mayo Thompson, who seemed as concerned with deconstructing the language of "rock" music as with actually expressing himself within it. That made Red Krayola's catalog challenging, often difficult listening. Its saving grace was the quirky charm of Thompson's songs and vocals, with a whimsical humor and open-mindedness rather atypical of avant-rock.
wnyc.org: "What do you get when you take music by Icelandic pop star Bjork and arrange it for an 18-piece jazz band? Find out as we visit with Travis Sullivan's Bjorkestra, a group that performs big band interpretations of the entire Bjork catalog. Similar in spirit, if not necessarily in inspiration is the Ed Palermo Big Band." Listen here
neumu.net: "I won't blame you if you've never heard of Nicolai Dunger. He's a Swedish singer/songwriter who has spent plenty of time soaking up the mystic jazz-rock of Van Morrison's Astral Weeks and lived a while in the spirit world of Morrison's Woodstock hippie-soul period. He's recorded with Will Oldham and members of Mercury Rev, creating soulful albums including 2004's Here's My Song, You Can Have It… I Don't Want It Anymore and 2001's Soul Rush. His work isn't exactly commercial, but then again, I can certainly imagine some of his songs on the radio. A Taste of Ra appears to be Dunger's way of making a completely non-commercial album, a mystic jazz-folk album that is possibly his strongest recording to date." More
MP3: Lovearth song...
MP3: Miracle wait Download here
thewire.co.uk: To accompany the Invisible Jukebox interview with Carla Bozulich in August #258 issue, Carla and Ches Smith have offered up this track from their handmade debut CD-R album Carla Bozulich/Ches Smith: Elements Ascending 6.1 MB download here
(Untitled) is a devastating set of almost pure white light from the newly upgraded Pelt lineup. The intense drone music on (Untitled) represents a return to "sonic-ism" for the quartet of Jack Rose, Mike Gangloff, Patrick Best, and Mikel Dimmick. Like Pelt's 2003 effort Pearls from the River, (Untitled) is an all-acoustic affair. On (Untitled) the group concentrates on producing dense clouds of overtones from guitar, cello, tibetan bowls, gongs, sruti, and esraj." Read more + MP3 downloads
David Keenan, THE WIRE: "Nadler first came to notice as one of the wildcards on last year's Tom Rapp tribute put together by Secret Eye, and as her inlcusion there makes clear, she favours dark folk ballads that reach far into the blackest areas of space. Her debut album Ballads of Living and Dying is a beauty...The LP's back cover fearures some cryptic artwork that looks like a nod towards Current 93's epochal Swastikas for Noddy album, and references to other decadent fantasists and folkloric topes dot the record, culminating in her setting of Edgar Allen Poe's Annagelle Lee for acoustic and electric guitar. Buit it's her own compositions, with titles like "Stallions" and "Box of Cedar", that leave the heaviest afterimages in the air; beautiful hybrids of dark-hearted Bert Jansch-style folk, and drugged, wieghtless psych."
bjork.com: Drawing Restraint 9, a film by Matthew Barney with a soundtrack composed by Björk, represents the first creative collaboration of two of the most protean, dynamic forces in music and fine art.
It is an apt pairing. Refusing to choose between pop pleasure and restless experimentation, Björk's musical vision weds technology and emotion, countering gut-level expression with an insistence upon formal modernity and innovation."
Fittingly, Björk's soundtrack primarily orients itself around the traditional musical forms of Japan. Effortlessly sidestepping any attempt at cheap pastiche or ethno-fusion clichés, Björk has instead written a suite of haunting new music for one of the culture's oldest instruments, the sho.
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