Buy from Bandcamp today… again!

How’s everyone’s week going? Anything eventful happening? In all seriousness, if you’re like me, you could use a reason to stare at something other than election results. Bandcamp Friday to the rescue once again. In truth, Bandcamp waiving its fees for a day is more than an excuse to stop doomscrolling. We seem to be entering a new phrase of the pandemic-prompted pause on live music, given that case numbers are climbing to record highs, and I’m more motivated than ever to send love and support to the artists who are releasing new music out into a world that’s desperately in need of the kind of fulfillment only art can provide.

This time around, I thought I’d zoom in on folks with Richmond connections. I can’t say for sure what’s going to happen with the election, but I know that looking out for one another listening more deeply are going to be crucial along the road ahead. As I said in my post on election day, I love you all, and I think you’ll find some new music you love below:

Gold Connections — Ammunition

I posted back in June about Gold Connections’ previous release, a searching standalone tune entitled “Iowa City” that was recorded in isolation during The Year of Our Lord 2020™. These tunes, on the other hand, came from sessions that predated COVID, and while these have a full band feel that distinguishes them from “Iowa City,” it feels like it’s all part of one big winning streak in which Gold Connections is releasing one crisp, memorable tune after another. If tapes are your thing, be sure to grab one of these before they’re gone. I certainly will be.

Sons Of The James — “Everlasting

The full-length debut from this dynamic duo of Rob Milton and DJ Harrison is due 11/19, and I can’t wait to hear the whole thing. All the singles (including “Things I Should Have Said,” which was featured on HBO show Insecure) have been excellent, and this last one, “Everlasting,” is no exception.

Bradford Thomas — Bradventure III

When I started making mix CDs that compiled select Bandcamp Friday downloads, I decided on a no-repeat artists rule — as a way to keep things fresh, and as an extra incentive for being adventurous when the next Bandcamp Friday rolled around. Beat craftsman Ohbliv has sidestepped that rule repeatedly thanks to his many pseudonyms — I’m pretty sure only one or two mixes HAVEN’T included sounds he made. This is my first purchase on his Bradford Thomas page, but I bet it won’t be my last.

Big Kahuna OG — HOW TO MOB, Vol. 1

More brilliance from the Mutant Academy contingent — this time a beat tape from Big Kahuna OG, who is half of the combo that brought you standout 2019 LP Holly Water. I’ve been enjoying all of HOW TO MOB, Vol. 1, but “SCHEME THRU THE VONAGE” is an early favorite, with layer upon layer of sound inviting you to lose yourself along the way. So good.

The Hustle Season — Volume 1

The Hustle Season podcast has been my go-to auditory coping mechanism during this unfathomably tense week. Speaking of losing yourself — it’s been such a relief disappearing into discussions of Phil Collins’ relationship troubles, magician-shaming, and the surprising awesomeness of the AC/DC comeback. I’m a relatively new listener, so I’m in that honeymoon phase of familiarizing myself with all the regular segments and recurring jokes, but no additional research is needed to know that the show’s hosts (Reggie Pace, Gabriel Santamaria, James Seretis, and Kelli Strawbridge) bring a super-deep pool of musical talent to the table, and their Volume 1 LP provides a kaleidoscopic glimpse of those varied interests and abilities. I definitely recommend giving “The Day The Nationalists Came” a listen as a way to process the week’s political news. In that sense, the Hustle Season has helped me both escape from and engage with this challenging and historic time. I’m deeply grateful.

tangent — “gone in your eyes

More Kelli Strawbridge! The versatile member of some of my favorite Richmond groups (including Mekong Xpress & the Get Fresh Horns) has shared a new song under the stage name tangent. Love the feel and flow of this one. Looking forward to hearing more tangent tunes.

Mitchel Evan — “Leeches

Richmond singer-songwriter Mitchel Evan has kept a steady stream of new music coming throughout the quarantine, including a seven-song EP entitled Don’t Tell Me It’s Gonna Be Alright that was released in April. (Also available on Bandcamp!) His latest is called “Leeches” — alongside previous single “Band-Aid,” it heralds an LP that promises to be one of the city’s 2020 Americana highlights.

Other releases on my radar for today:

Mdou Moctar — Mixtape Vol. 7
Jaimie Branch — SOS sessions 3
ragenap & the Baked Growhouse Orchestra — “the national anthem
DJ Mentos — The Maxell Tapes Volume 2
Mike Cooley, Patterson Hood, Jason Isbell — Live at the Shoals Theatre
Angel Bat Dawid & Tha Brothahood — LIVE

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VOTE

Today’s the big day, y’all. I know a lot of folks have already voted, which is awesome. And heartening. But if you’re reading this and haven’t yet made your voice heard in this incredibly important election, please drop what you’re doing and go vote. And if you know someone who’s considering sitting this one out, send a friendly reminder. I don’t know what the next few days will look like, but I do know that the future will look a whole lot brighter a whole lot sooner if a whole lot of people go to the polls today with love in their hearts.

A few voting resources that might come in handy:

Polling place locator
What should I bring with me to the polls?
Election Protection Hotlines

I thought I’d also share a song worth taking with you (literally or figuratively) when voting today. I’ve been enjoying the cover of Neil Young’s “Lotta Love” that Helado Negro put out last week — with contributions from Flock of Dimes, Devendra Banhart, and Richmond’s own Trey Pollard. Win or lose, these lyrics chart a clear path for the road ahead:

It’s gonna take a lotta love
To get us through the night
It’s gonna take a lotta love
To make things work out right

If you’re reading this, whether you’re hopeful, confused, stressed, or just eager for this election to be over with, I want you to know that I love you. And I promise whatever happens, it’ll help to have this song in your heart.

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Happy Halloween!

Happy Halloween, y’all! I hope everyone is able to find ways to celebrate that are safe, spooky, and surpassingly sucrose-soaked.

A quick recommendation on the spooky side of things: Pumpkin, the new musical radio-play from Adam Schatz of Landlady.

In addition to being one of my favorite musicians on the planet (follow the Landlady tag at the bottom of the post for more on that), Schatz is one of my favorite writers on the planet, having penned a number of incisive essays for The Talkhouse that address heavy stuff — COVID-19 isolation, the perils of South by Southwest, and the creator-creative dichotomy — with humanity and generosity, and a clarity that can make it feel like he’s speaking directly to you. His honesty is consistently inspiring. I always leave Landlady shows feeling changed for the better, and I feel the same way after reading something he’s written.

He’s also hilarious, and Pumpkin — which takes the form of a scary bedtime story in which humans and monsters live (and die) side-by-side, parents strive to connect with their kids, and serial killers sing about crafting — is bursting with levels of moment-to-moment brilliance and silliness that only Schatz is capable of. It had me literally laughing out loud multiple times while running around my neighborhood this past week. I’m already an unsettling sight when jogging these days, thanks to COVID and early sunsets; my mask and headlamp make it look like I’m late for a surgery that’s happening just down the block. Add in laughter and you’ve got something truly special. Happy Halloween, I guess?

Per Schatz’s request, my favorite Pumpkin joke has to be the self-doubting student reporter singing “They call me a loser just because I always lose / Maybe they’re right.” Kills me every time. (Halloween pun very much intended.)

Much like his last festive radio-play, The Holiday Party, Schatz largely wrote, recorded, and edited Pumpkin himself, though it comes to life via a wildly talented cast of voice actors (Charlyne Yi is the fear-craving title character), and a band that includes Richmond’s own Pinson Chanselle on percussion. It runs about two hours — perfect for a leisurely Saturday early in-person voting experience. Did I mention it’s the last day for early voting in Virginia? Please vote, y’all. And if you end up enjoying Pumpkin, you can download the soundtrack over at Bandcamp for $10, with proceeds going to the The Okra Project.

You need a Stitcher Premium account to listen, but free trial options are available, and a few of the songs are streaming on the Bandcamp page. Hear “Pumpkin’s Fears” below:

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Buy from Bandcamp today… again!

Happy Bandcamp Friday, y’all! I’ve been eager to get this list out into the world since the first item hit the ‘camp a couple of weeks ago, so without further ado, here are this month’s recommendations. Remember, fees are waived, so it’s a great day to show your support.

Ophelia — Ophelia

A big part of past Bandcamp Fridays has been music that’s resurfaced — extra copies of pressings that had sold out, or albums that are seeing the light of day after spending some time on the shelf. This Ophelia album is such a glorious example of the latter, as it hit Bandcamp a couple of weeks ago after having been recorded back in 2010. After hearing it and enjoying it tremendously — including a magnificent listen all the way through on a long run at dusk — it’s hard to imagine this not being out in the world. It immediately feels canonical, given the strength of these tunes and the involvement of two Richmond favorites: David Shutlz (a Bandcamp Friday favorite) and Jonathan Vassar, who you might remember from the excellent Lonely Rooms album I wrote about last month.

PJ Sykes — “Rain in to the Sea”

Speaking of David Shultz, I absolutely love the “Rain in to the Sea” cover PJ Sykes released today. What a perfect illustration how a song can vibrate harmoniously on wildly different wavelengths. (Ocean pun fully intended.) Halfway through this new version, it’s easy to imagine the song having been written with this arrangement in mind, especially when it comes to the delivery of the central metaphor. So cool. And can we all agree this cover art wins Bandcamp Friday?

Opin — Media & Memory

There’s a specific anticipatory joy that floods in just before you hear a new Opin song for the first time. Their track record of adventurousness means you’re never sure where they’re about to take you. It’s exhilarating — especially when, time and time again, you end up thrilled with where they’ve decided to go with their sound, from their self-titled full length in 2017, to the EPs they’ve released since (including a cover of Mariah’s “Shinzo no Tobira” that I’ve listened to approximately 1.5 million times since it came out). I’m on pace to catch up with that play count when it comes to the first two songs from their upcoming LP, Media & Memory — out 10/30 on WarHen Records. I couldn’t decide which to embed below, so they’re both there. And while I don’t know where the other seven tracks on the album will go, I know by now to sit back and enjoy the ride, because Opin’s sense of sonic navigation is as good as it gets.

Bartees Strange — Live Forever

We’ve all heard “You are what you eat,” but “You are who (whom?) you hear” seems increasingly applicable the more time we spend with earbuds in catching up on the podcasts that reflect and shape our thinking about the world. The voice that’s been bouncing around my brain most during the pandemic has been Steven Hyden’s; his 36 from the Vault podcast about the Dick’s Picks Grateful Dead live album series has been my primary means of auditory escape. As a result, the line between his thinking on music and mine is starting to blur, and when he tweeted the following, I was eager to snag my own seat on the Bartees Bandwagon™:

Live Forever promises to be one of this year’s most celebrated albums, and today’s the big release day. I’m 100% in. It’s so good. The “Half Orange/Half Bone” pressing I snagged is sold out, but he recently added a “Red with Bone & Orange Splatter” variant, and copies of that are still available. Don’t sleep. As a side note, the Hyden-Strange connection came full circle with the publication of this Uproxx interview. Don’t sleep on that either. No sleeping whatsoever, ok? It’s Bandcamp Friday!

Hiss Golden Messenger — School Daze: A fundraiser for Durham Public Schools students

This is the second live album Hiss Golden Messenger has released during the pandemic — click here for my post about the first one. Proceeds are going to the same great cause — the Durham Public Schools Foundation — but not a single song is repeated from his previous live release, which is fun. One other Hiss-related recommendation: If you’re not already signed up for M.C. Taylor “Kitchen Table Speculator” mailing list, I recommend it highly. He includes poetry, books and music he’s been enjoying, and words of hope like these:

I realize that life is chaotic and complicated right now. I’m trying to remember to take some time each day or week to thank the folks that keep showing up, nose to the grindstone, every day. I’m trying to give back to my community with emotions as well as dollars. If you have the bandwidth, please consider donating your time, money, or other resources to an organization doing good work in your community. I’ve found it’s the best way to alleviate feelings of hopelessness.

I plan to heed that excellent advice by downloading School Daze right about now.

Hotspit — Hotspit Live Session

If you’ve been following this Bandcamp bonanza from the very beginning, you might remember that my very first Bandcamp Friday post included music by Avery Fogarty, who fronts the Richmond band Hotspit. That group just released a three-track live session, which is very exciting. I’m especially fond of the first track, which illustrates the range the group has, and how great they sound in exploratory mode. Well worth a download.

Other items on my radar today:

Sam Gendel — DRM
Spacebomb House Band — X: Kernel Eternal
Mdou Moctar — Mixtape Vol 6
Phil Cook — From the Kitchen: Winston​-​Salem, NC – 10​/​27​/​​2018 @ Ramkat
ragenap — “masters of war” (benefits Sustain Chicago Music)
Various — Good Music to Avert the Collapse of American Democracy, Volume 2 (benefits Voting Rights Lab)
John Moreland — Live at The Grey Eagle – Asheville, NC – 6​/​9​/​19
addy — re call/bug (benefits MAD RVA)
Durand Jones & The Indications — “Power To The People
Avery Fogarty — “sunken cities

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Elkhorn

I’ve been leaning on music like never before these last six months. The records I’m spinning at home have been helping to drag my soul from one anxiety-ridden day to the next, and my copy of Elkhorn’s The Storm Sessions, which came out on physical formats in February, has been doing quite a bit of that heavy lifting. Its origin story is tailor-made for this frightful time; two side-long improvised pieces that represented the lemonade made when life gave the guitar duo of Jesse Sheppard and Drew Gardner lemons in the form a gig-killing blizzard. Snowed in with multi-instrumentalist friend Turner Williams, Elkhorn made magic. In turn, I’ve made it through this ordeal more emotionally intact than I might have otherwise.

Speaking of accumulation, I was recently organizing the records I’ve bought during COVID era — definitely more albums than usual, given the way ordering online provides a boost both in the present and the future — and I stopped when I got to The Storm Sessions. Should it sit with 2020 live albums, maybe next to that excellent Joan Shelley Live at the Bomhard set that came out a few Bandcamp Fridays ago? Should it hang out with conventional studio albums like Waxahatchee’s masterstroke, Saint Cloud? The sessions did take place at Drew Gardner’s home studio in Harlem, yet their searching sound and the circumstances that brought them about seem antithetical to the premeditation that defines the latter end of the live-studio continuum. Improvisation requires real-time reaction. It’s singular. There might not be an audience, but it’s as “live” as it gets.

Does it really matter where I file my records? No, but improvisation does matter. It’s what we’re all doing right now. Faced with a global pandemic, an economic downturn, and more time at home than even Daniel “I Like to Be With My Family” Tiger knows what to do with (don’t worry, he’s working through it), we’re being forced to adapt on a near-constant basis. Each day, we scan the most up-to-date dimensions of this weird and difficult situation, and we adjust, because not doing so would be like wishing the sky were green instead of blue, or wishing that it hadn’t snowed so much on the night you had a gig you were really looking forward to. Maybe it’s unsurprising that skilled musical improvisers made the most of a bad situation. (Maybe we could stand to follow musicians’ lead more often.)

To be clear, this isn’t about force of will, or about grinning and bearing it. Quite the opposite. It’s about a type of strength that can only grow out of an appreciation of one’s vulnerability — of the fact that being in the world means being changed by it. The most compelling music I’m hearing these days reflects the moment we’re experiencing, not just by addressing current challenges and opportunities lyrically, but also by letting our broken, unvarnished humanity show through. Whether it’s a collection of covers captured imperfectly on home recording equipment, or experimentation with new techniques and tools, I’m finding the most fulfillment in music that dares to document — faithfully — who we are after we’re knocked down but before we’re back on our feet. That’s certainly where I find myself these days.

It’s why I continue to find comfort in The Storm Sessions, and it’s why I was so thrilled to learn that The Storm Sessions has a companion album on the way. Elkhorn has teamed up with the Centripetal Force and Cardinal Fuzz labels to release an addendum in the form of The Acoustic Storm Sessions — another pair of side-long pieces improvised at Gardner’s home studio during that fated blizzard, captured the night before the recordings that made up the original album. This is Elkhorn’s first entirely acoustic album, and while Turner Williams does appear on these recordings as well, the tighter instrumental focus remains a compelling facet — a narrower passageway for a two-stage journey that’s no less ranging. The way the guitarists are able to draw in close to one another in spots affords the moments of contrast a whole other richness, and their expansion and contraction along that axis makes for rewarding listening wholly distinct from where they end up traveling.

Still, as with all of Elkhorn’s work, the “where” is such a gift. Oh, the places you can go while sitting and listening to Sheppard and Gardner (and Williams, in this case) build musical landscapes and chart winding, serendipitous courses through them, all while leaving you room to fill in your own imagined details along the way. I have a silly, wordless ritual for when I put on an Elkhorn album: I tend to imagine myself settling into a dream alongside one of the architects from Inception, ready to experience a world that transforms in front of my eyes. (The fun parts of the movie, minus all that stressful corporate espionage.) That ritual started as a result of an Instagram comment penned by James Adams of the Aquarium-Drunkard-hosted Bob Dylan bootleg show, Pretty Good Stuff. He concluded, “It’s like you can walk around inside this music and find new and instant friends. It’s a tonic.” So well put. If there were ever a time when we needed internal experiences that have the power to transport and connect us, this would be it. I suppose it’s ironic, then, to be so thankful these gifted improvisers were stuck in place when and where they were, but I am. Doubly so, now that we have these new acoustic sessions.

Click here to snag a copy of The Acoustic Storm Sessions in the US, here for the UK/Europe, and check out samples of both sides below.

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Butcher Brown

So much is happening in the Butcher Brown universe, y’all. Every time I try to start a post, more stuff happens, so I’ve put together a bulleted list to keep track of it all, starting back in January, when the conversation around an upcoming album started getting louder…

  • Butcher Brown has long represented a creative North Star amid the beautiful universe that is Richmond music, and in early 2020, they started shining brighter than ever. A new partnership with the prestigious Concord Jazz label. Intriguing tweets like this one. Confirmation of an upcoming album, and a lead single that hit in early March. (I stayed up until midnight that night to hear it, and “Tidal Wave” did not disappoint.)
  • Unfortunately, we all know what else hit in March. Nevertheless, this impossibly versatile and endlessly proficient group kept the momentum going with their “Mothership Monday” video series — covers ranging from Bob James’ oft-sampled “Nautilus” to “African Rhythms” by Oneness of Juju. (Here’s a news story on the series.) They played a surprise show at the reclaimed Marcus-David Peters Circle. They announced their upcoming album was called #KingButch, and when preorders were made available, I ordered my copy just about as fast as is humanly possible.
  • Over the course of the six months that followed, they released three more songs from #KingButch — “Cabbage (DFC),” the title track, and most recently, “Gum in My Mouth” — and yet, with the album’s release day in sight, they blew everyone’s mind in a whole other way when it was announced that they’d lent instrumentation to the song that would replace Hank Williams Jr.’s Monday Night Football intro music — a new version of Little Richard’s “Rip It Up.” It debuted just a few hours before I typed this sentence, and the world was a better place for it.
  • Micro-Chop just published an excellent piece entitled “Visualizing the Process of DJ Harrison.” Not directly related to Butcher Brown, but still very much worth a read.
  • That brings us to present day. Whew. It’s a lot to look back on, and I’m sure I’ve left plenty out, but it’ll all come full circle this Friday with the release of the album we’ve been looking forward to since January. Click here to snag a copy. Or a hat. Or a slipmat. As I mentioned, my preorder is in (still gold vinyl variants left!), but there’s not a single thing in that merch store I don’t want.

A quick personal note: I had the honor of interviewing Butcher Brown guitarist Morgan Burrs in January for a magazine article. The idea for that piece was that I’d speak to a few of Richmond’s leading musical voices and get a sense for the scene at that point in time, and one thing that struck me was how often Butcher Brown came up — not just in my conversation with Morgan, as you’d expect, but outside of it. They are a true source of inspiration and collaboration for so many other musicians in town, and it’s incredibly rewarding to see their innovative influence spreading so broadly. In that sense, their new album has one of the most fitting titles I’ve ever seen.

Long live #KingButch.

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Buy from Bandcamp today… again!

Here we are again, my fee-free friends. My Bandcamp buddies. We made it. Another big, beautiful Bandcamp Friday. I dunno about you, but I’ve definitely started using these events as quarantine mile markers — something to look forward to, look back on, and generally use as a temporal tool for resisting the Groundhog Day grind of life these days. And it’s such a great feeling seeing the music community light up all at once and celebrate the value of create work — whether it’s a new album recorded under these unusual circumstances or music made ages ago that’s just now wriggling free from obscurity.

Here are a few releases I have my eye on:

Aquiles Navarro & Tcheser Holmes — Heritage of the Invisible II

Album announcements from the International Anthem label are an immediate cause for celebration, and this one was particularly intriguing. “Telepathic Afro-Caribbean improvisational trumpet-and-percussion duo”? Members of Irreversible Entanglements? An instant classic lead single? Count me in.

DJ Mentos — “1989

This here is a vibe. Combined with the video, “1989” is like being dropped down in the middle of a narrative that you get to finish writing yourself. It’s easy to get lost in those possibilities — despite the video’s six-minute running length, it feels like a lifetime has passed when its finished. So fun. Another demonstration of DJ Mentos’ masterful ability to make the past feel vital in the present.

Alex Ingersoll — Ruins Form

Speaking of vibes, this is where I’ve been on a nightly basis. This vibe. This place. This sound. Laptop open, typing, listening to music that opens up an imagined, uncanny space where time and gravity are different and whole worlds appear and disappear at the whim of music that dodges familiar melodic pathways. I’d compare it to the Valley Beyond in Westworld, but I’m only 50% certain I’d be referencing the right thing, given that I’m 100% confused by Westworld at all times. One thing I do know is that Alex Ingersoll’s Ruins Form album is wonderfully immersive, combining modular synthesizer, live instrumentation, and field recordings, and I highly recommend letting it bend your personal space-time continuum for a while.

left.hnd — ad mausoleum

I’ve been looking forward to this record since the day I interviewed Scott Lane for River City Magazine. While the resulting article mainly focused on his American Paradox label, he mentioned in that conversation that he’d been working on recordings of his own, and that itself was music to my ears, given that he’s had a hand in making so many of my favorite albums to come out of Richmond in recent years. (And that’s on top of his outstanding work with The Congress.) If you’ve been following along with these Bandcamp posts, you already know that I recommend his Mira EP from April in the highest terms. Judging by the bright, bold, and impeccably detailed tracks released from ad mausoleum so far (check out the latest of those below), his debut LP as left.hnd is going to meet and exceed all the hopes that started forming during our interview.

John Calvin Abney — Familiar Ground

This is another one where anticipation runs high. How high? So high that my very first act after gaining consciousness on Tuesday morning was checking the Black Mesa Records site to see if the preorder was available. You know you’re excited for an album to be announced when you literally can’t and don’t wait for the announcement to go out.

Lonely Rooms — Until We Have To

Joshua Quarles, Jonathan Vassar, Christina Gleixner… these are some of the first names I learned to look out for when I started following Richmond’s music scene. They’re names that have come to stand as synonyms for craft, and while I’ve heard them make wildly divergent music separate from one another — from hushed folk to jazzy Turkish-language pop to wind ensemble music that incorporated the sounds of SCUBA diving in real time — their shared capacity for making music of great depth (not a SCUBA pun, I swear) and substance gives Lonely Rooms a powerful sense of cohesion. I love this album. It’s remarkably poised, capturing moments of quiet turmoil and questioning made crystalline by melodies and structures that make you want to sing along and stay in the moment, however difficult it may be. And while there’s tremendous weight to the lyrics, closing track “Comeback” leaves you with a hopeful mantra I plan to return to repeatedly:

No alarms. No attacks.
Today wasn’t that bad.
I can take some comfort in that.
Try and figure out where my head is at.
I need strength and I find that I can
Feel it coming back.

Daniel Romano’s Outfit — How Ill Thy World Is Ordered

I am absolutely crazy about the live album Daniel Romano’s Outfit put out earlier this year, entitled Okay Wow. Good lord, y’all. It’s so good. This is one hell of a band, and not just in the sense of rendering songs well or being proficient. They have that elusive thing that makes the whole endeavor feel grander and more meaningful than just people on a stage playing instruments. The harmonies feel triumphant, and there’s grace and power to the way the group moves together. If you haven’t heard Okay Wow, please listen to it now. Then join me in being really, really excited for How Ill The World Is Ordered, which has a dynamite lead single called “A Rat Without A Tale.”

As always, here are a few other items of interest (I’ll keep this list updated throughout the day):

William Tyler — New Vanitas
Various — Good Music To Avert The Collapse Of American Democracy (benefits Fair Fight)
DarkTwaine_ — L’enfants Sauvages
Mdou Moctar — Mixtape Vol 5
Dogwood Tales — Live in the Velvet Rut vol. 2
ragenap — “hard rain” (benefits My Block My Hood My City)
CZAR — Gore en Regalia
Irreversible Entanglements — Who Sent You? (a few Implacable Maroon vinyl versions were made available!)

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Landon Elliott

I know, I know, musical appreciation is subjective. But I’m convinced Kacey Musgraves’ “Rainbow” is the type O-negative of songs — a universal donor that has the power to revive anyone who hears it. I play it when I’m sad. I send it to other people when they’re sad. It’s kind. It’s effective. When this whole storm of awfulness is over, and we emerge squinting and blinking into the sunlight of a relatively normal presidential administration, COVID-19 vaccine in hand, it will be impossible to calculate how many dark days “Rainbow” helped to brighten.

Musgraves’ ode to perseverance seems poised to become a standard, and Landon Elliott has recorded an arresting new version that leans into its powerful affect with care and grace. He’s also leaned into the song’s imagery via the beautifully composed video above (directed by Daniel Bagbey), and a fundraising project whereby the art he commissioned to create the video is being sold to benefit Side by Side, a Richmond-based organization “dedicated to creating supportive communities where Virginia’s LGBTQ+ youth can define themselves, belong, and flourish.” My own daughter (a prolific rainbow artist) submitted a watercolor work for the project, and I can’t tell you how proud I was to see it appear in the video. Okay, so I’m like 99.4% sure hers is in there. As far as my daughter could tell, I was 175% sure, though, and she was so thrilled. I’m just as thrilled that Elliott’s given us an opportunity to support a great organization.

Watch the video above, and click here to buy a piece of the artwork that appeared in it, with proceeds going to Side by Side.

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Buy from Bandcamp today… again!

We’re back, baby! Bandcamp has generously decided to waive its 15% cut on the the first Friday of each month through the end of this godforsaken year, which is pretty awesome in my book. Also awesome? The albums below, which I submit for your consideration as you browse the ‘camp and decide which artists you’ll support.

Carlos Niño & Friends — Actual Presence

If you’re as smitten with International Anthem Recording Co. as I am, you likely already have your pre-order in for a copy of the album Carlos Niño & Miguel Atwood-Ferguson released in late June via the Chicago label. Atwood-Ferguson is among Niño’s “Friends” on this set as well, and another name jumped out among those who contributed to Actual Presence: Sam Gendel. I wrote about Gendel and his innovative album Satin Doll in connection with the May Bandcamp event, and I love how his unique sax treatment moves within in the space Niño creates. (To be clear, this isn’t their first collaboration. I’m late to the party. Very happy to be here, though!)

Reginald Chapman — Prototype Remixes 

Reginald Chapman may have moved away from Richmond, but “Hoodie” remains one of the core compositions I think of when I picture in my mind’s eye (as we’re forced to these days) the glory of seeing Richmond’s most overwhelmingly outstanding live act, the No BS! Brass Band. I love this Foisey. remix of the version of “Hoodie” that appeared on Chapman’s 2018 Prototype album, and I can’t wait to hear the rest of these Prototype Remixes. (Full album out in September.)

Kate Bollinger — A word becomes a sound

If there were ever a chorus to keep in the front of your brain in order to maintain sanity during a global pandemic, it would have to be:

Grey skies, they don’t scare me
I find them unnecessary
There’s no tellin’ when the bad’s gonna come around
And it’ll come around no doubt

It’s like a badly needed pat on the back from a friend who’s reassuring you without bullshitting you. And Kate Bollinger’s gift for phrasing means the words slide through your consciousness so gracefully the toxic parts of your psychology don’t have a chance to play defense.

Bollinger’s 5-song album A word becomes a sound is available on cobalt colored vinyl, and I can’t wait to have it spinning at home, and have my head spinning a little less as a result.

William Tyler — Music from First Cow

I’d totally planned see this movie before I bought the soundtrack. That seemed like the right order of events — as if there were a “wrong” time to buy a William Tyler album. (There’s not.) Then I listened to Music from First Cow a third time, and a fourth time, and I feel hard for how beautiful, musically economical, and evocative these pieces are, and I started to develop the kind of emotional responses you might expect to have after actually having seen the film, like how “The Arrival” triggers the kind of nostalgia you feel when something’s not even over yet but you already miss it… I’m still going to see this movie, but I’m not waiting to but its soundtrack a moment longer.

Ohbliv — LewseJoints Number 8 (a) and LewseJoints Number 8 (b)

Where Ohbliv goes, I’ll follow. His DarkTwaine_  pseudonym? Yup. The PANGEYA tape that became available last Bandcamp Friday? I’m there. The two new volumes in his LewseJoints series that hit the interweb earlier this week? Yes, please.

As always, here’s a running list of the other stuff I have my eye on, updated as needed throughout the day. Yay for Bandcamp Fridays, y’all. Now go forth and get some great music.

Mary Lattimore & Elysse Thebner Miller — And the Birds Flew Overhead (60 vinyl copies were made available today, but they’re going quick)
Philip James Murphy Jr — I went to sleep
Bon Iver — “AUATC
Christian Lee Hutson — The Version Suicides
Mdou Moctar — Mixtape Vol. 4
Alabaster dePlume — “Seen” (will be deleted tomorrow)
Various — Habibi Funk 014: Solidarity With Beirut (proceeds go to the Lebanese Red Cross)
left.hnd — ad mausoleum

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Dogwood Tales

I mentioned a few weeks back that I’ve been making mix CDs from purchases made during Bandcamp’s fee-free Friday events. Part of the intent there is to contain the chaos — to retrospectively slow down a blur of new albums, rarities compilations, and live sets. It’s also part commemoration, since these Fridays feel meaningful to me. I love the idea that everyone’s stopping what they’re doing to acknowledge the value of music. We’ve been criminally undervaluing songs since file sharing took hold, and I’m genuinely hopeful that what Bandcamp is doing can evolve into a framework for sustainably funneling funds to musicians who so clearly deserve it.

It’s ironic, given that I’m buying mp3s like I haven’t in years, but my fetish for physical media has flared up in the process. I made my share of mix CDs during and after college, when iPods weren’t yet commonplace, but I never put much effort into the track lists, aside from writing on the discs themselves. Now I’m tearing pages out of magazines, borrowing my daughter’s glue stick, improvising insert design schemes, and hand-numbering to create limited runs nobody even knows about. I’m typically on the other end of that dynamic as a collector, so it’s fun to be the one writing “# ___ of ___” and deciding whether to make, like, five copies or four.

The first of these mixes was called “Still Here” and began with the poised and poignant David Shultz tune of the same name. (I ended up writing about it for the Auricular.) The title was also a nod to the fact that, even in May, it felt like we’d been cooped up in our houses for ages. Hilarious, in retrospect, though it doesn’t exactly inspire laughter. I kept that theme going by taking the title of my second mix from the fantastic calvin presents/Sam Reed collaboration “here,” which was released on Juneteenth. While counterintuitive, the fact that “here” follows “Still Here” in this little series makes me smile. Reminds me of that scene in Empire Records where Ethan Embry’s character describes naming his band after a misspelling of his own first name. “Always play with their minds.”

The third and most recent installment is called “Hard to Be Anywhere,” and it opens with a track from Closest Thing to Heaven, the new LP from Harrisonburg-based Americana/country outfit Dogwood Tales. It’s an incredibly moving song, and it’s no exaggeration to say I needed to hear it right now. The start of the chorus certainly hits home, no pun intended:

It’s hard to be in the right place for the right thing all the time

The more connected we all are electronically, the more it can feel like you’re never where you’re supposed to be. (Quick pause to acknowledge Jason Isbell’s own crystallization of that idea.) Even now, at a time when my family is swimming in, ahem, quality time, that sense of togetherness is short-circuited by the strange shape of this situation — limitations on where you can go and what you can do, daily risk assessment, constant stress, and the fortunate-yet-crazy-making task of folding parenting into working from home. At any given moment, it’s hard to know whether “the right place” is at my laptop, being the work version of myself, or in our backyard, pushing the kids on the saucer-shaped swing I hung from a sturdy branch of our maple tree near the start of this mess.

Then again, the “hard” part isn’t always about prioritization. Sometimes you know what the right thing to do is, but following through is what’s difficult.

Of the members of our household above the age of three, I’m probably the most content with settling into a groove around the house, carving ever-deeper ruts in the paths between my desk, the fridge, the downstairs bathroom, the couch, and the sink. (It can’t be coincidental that I’ve formed a close connection with the albums that comprise Neil Young’s “Ditch Trilogy,” as well as his recently released lost Ditch-era gem Homegrown.) I know that carefully planned and appropriately distanced activities — picnics, walks, drives — are a crucial component of our bubble’s collective sanity, but I’m not great about initiating them, and I’m trying to kick my habit of opting out when given the opportunity to do so. As hard as being out in the world is right now, I have to remember that the “rightness” of other places is diminished by my electing to stay home. This dynamic truly came into focus as a result of hearing “Hard to Be Anywhere” in the car at the start of a family outing I had mixed feelings about. Meditating on the song’s lyrics transformed my outlook on the trip completely. It was like the opposite of a dad yelling “I’LL TURN THIS CAR AROUND RIGHT NOW” at his screaming kids — more like “I’LL CONTINUE DRIVING THIS CAR AND MY MOOD’S SUDDENLY IMPROVED.”

WarHen Records already sold out of vinyl copies of Closest Thing to Heaven, but I wholeheartedly recommend heading to Bandcamp and downloading the album. It’s winner from start to finish. And Bandcamp has announced that they’re going fee-free on the first Friday of each month through the end of the year. I’m excited to see how this initiative grows and changes, and I’m hopeful that fans will continue to show up and demonstrate a growing collective conscience around the value of the music we love. And you better believe I’ll be making more mixes.

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