Tag Archives: William Tyler

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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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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Cass McCombs & Steve Gunn

It’s another great day to buy from Bandcamp, y’all. In honor of Juneteenth, the benevolent music marketplace is donating its share of sales to the NAACP Legal Defense Fund. (And they’ve pledged to do the same each Juneteenth going forward.)

I’m filling up my shopping cart now, and I’m planning to update the list of recommendations at the bottom of this post throughout the day. For now, I thought I’d pass along a heads up about a great 7-inch Cass McCombs and Steve Gunn just released. They’d hoped to sell it on a west coast tour, but since that run was canceled, they’ve made it available on Bandcamp. It pairs a Gunn-sung take on the traditional tune “Wild Mountain Thyme” with a cover of Michael Hurley’s “Sweet Lucy” (a song I hold near and dear — my daughter’s humming along to it as I type this) sung by McCombs.

You can hear both of those tunes below. And here are a few other items I have my eye on:

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2019 in Review: Instrumental

Let’s get this retrospective party started, y’all. Once again, I’ve bitten off way more than I can chew and am attempting to blurb more albums than is remotely reasonable, but I thought I’d get rolling with a list of nine favorite non-jazz, non-RVA instrumental albums. Four posts will follow this one — Jazz, Audiovisual (new category this year, though I guess “Instrumental” is new too), RVA, and 25 Favorites. As has been the case the last few years, these are presented in alphabetical order. No ranking. Just sending love letters out to the albums that meant a great deal to me in 2019.

Phil Cook — As Far As I Can See

I wrote in the last Off Your Radar issue of the year about my connection to Phil Cook’s music, and how it distills the joy I have for the creative community that links Richmond, Durham, and Eau Claire. As Far As I Can See provides a zoomed-in view of Cook’s genius, narrowing the focus so we can see how he builds songs and melodies when words aren’t on the table. I’ve played this a zillion times since it came in the mail, often first thing in the morning on weekends or when I’m working from home. Pair with hot coffee and feeling hopeful about what the day will bring.

Ebony Steel Band — Pan Machine

I’ve been listening to Kraftwerk all wrong this whole time. In truth I haven’t spent a ton of time with the German band’s albums — just exploratory listens here and there. But I’ve always focused on the mechanical stuff. The beat. The synth sounds. The blunt vocals. This wonderful album of steel drum covers pushes melody to the foreground. Mind blown. I had no idea how gracefully these songs move. I can’t wait to get to know the original versions even better — now with a better listening toolkit.

Elkhorn — Sun Cycle/Elk Jam

Two fearless, searching albums, with approximately two million avenues for your mind to travel down while listening. Sun Cycle and Elk Jam remind me of the note Zooey Deschanel leaves Patrick Fugit in Almost Famous about spinning Tommy and seeing your future unfold — press play on either of these, close your eyes, and let your imagination run wild. You may end up in a forest. You may communicate with dead relatives. Elkhorn’s music is as infinite as your capacity for wonder.

Mary Lattimore & Mac McCaughan — New Rain Duets

I’m embarrassed to admit this, but when I walked into Richmond Music Hall in May to see Steve Gunn, I had no idea that the “Mary & Mac” who would be opening were Mary Lattimore and Mac McCaughan, who released this gorgeous ambient album just a couple of months earlier. As far as supporting act surprises go, it doesn’t get much better than that. Mrs. YHT and I sat and ate dinner in the back of the hall while Mary & Mac painted some seriously dreamy soundscapes, complete with nature imagery projected onto the back of the stage. What a gift that was.

Ryan Lott — Pentaptych

I learned fairly early on in my Son Lux fandom that frontman Ryan Lott was also a composer, and Pentaptych has been an excellent introduction to that side of his musical brain. Quick story: I grew to love the way the piece — originally composed as ballet accompaniment — carved out musical space. The low end and high end are noticeably distant from one another, leaving this vast, vacant middle area. Turns out (and I can’t seem to find where he said this), Lott was intentionally setting the stage for the dancers, creating an openness where visual aspects of the performance could be foregrounded. I’m amazed at how clearly he was able to articulate that vision.

Bill Orcutt — Odds Against Tomorrow

Gave this a listen after Mark Richardson wrote about it for Bandcamp Daily. My first rodeo with Bill Orcutt’s music. I’ve found Odds Against Tomorrow to be richly rewarding for both the head and the heart; it forces you to flex preconceptions relating to time and dynamics, and it contains a delicately rendered version of “Moon River,” the song I often sing my kids at bed/naptime.

Rosenau & Sanborn — Bluebird

I put in my pre-order for this while on vacation in the Outer Banks. I can remember stealing a few minutes to myself and using them to listen to “Saturday,” only it was too long to get through, so I listened to it in pieces the first few times I heard it. My copy came in the mail a few months later, on a day when I really needed something wordless and nurturing and engaging. Bluebird was both figuratively and literally there for me.

Various — Industry/Water

One of 2019’s most welcome developments was Jonny Greenwood starting his own label, Octatonic Records. I’m a big fan of the Radiohead guitarist’s soundtrack work, and it’s great to know he’s planting deep roots in the realm of modern classical. The announcement of the label’s founding was accompanied by two initial releases, and I snagged the second — an LP that pairs one of Greenwood’s own compositions, “Water,” with a delightfully dissonant piece by Michael Gordon called “Industry.” Both are beautiful and challenging, and I can’t wait to see where Octatonic goes next.

William Tyler — Goes West

I get a sense of warmth from this record that goes beyond notes, chords, and instruments. It’s an atmosphere. It’s a statement of belief, rooted in a genuine appreciation for his Cosmic Americana forbears — including a Windham Hill universe that he’s helped me connect with over the past couple of years. While Goes West is certainly a fun listen, it feels as deep as anything William Tyler has made to this point.

More 2019 in Review:

2019 in Review: Jazz
2019 in Review: Audiovisual
2019 in Review: RVA
2019 in Review: 25 Favorites

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Skyway Man

So I’m late to the party here, posting about a show just a few hours before it starts, but this Skyway Man album has my adrenaline racing. I’m on my first listen, and it feels like someone’s slowly reading off winning lottery numbers that keep matching the ones on ticket I’m holding. It’s bonkers… all the sounds I’ve been gravitating toward are here.

A few data points:

  • I picked up a copy of Cosmic American Music at the Numero Group’s pop-up sale at Strange Matter in April.
  • Thanks to an especially fruitful Goodwill haul, I’ve been heavy into gospel the last few weeks, from Sister Rosetta Tharpe to Billy Preston’s Gospel in My Soul album to early 1980’s Savoy Records stuff.
  • I’m also in the middle of a big William Tyler kick. A BK Music Instagram post prompted me to play Impossible Truth in the recovery room after my son was born a couple weeks back, and miraculously it was still there a couple of days later, along with his earlier Behold the Spirit album.
  • We named our son Ryland, so I’ve been making my way through my father-in-law’s Ry Cooder albums, marveling at how simultaneously timeless and of-their-time they sound, especially Borderline and “Why Don’t You Try Me.”

Seen Comin’ from a Mighty Eye is tailor-made for someone embroiled in exactly these obsessions, with the spacey aspects of Cosmic American Music, the voluminousness and spirituality of gospel, Tyler’s exploratory spirit, and references to early 1980’s production that remove songs from the present moment, like they’re wandering untethered by time. It’s all here, along with the signature Spacebomb sounds that consistently fill my heart with joy.

As mad at myself as I am for posting this so late — and as ashamed as I am that I haven’t been listening to James Wallace’s stuff all along — I can’t help thinking that Seen Comin’ from a Mighty Eye and I met at exactly the right moment. Many, many thanks to Alexandra Spalding for the heads up.

Doors open at Gallery5 tonight at 7. Twain and Big Kitty will be there as well. Click here for more info.

Skyway Man — “Wires (Donny Angel and the Opening Wide)” [Spotify/iTunes]

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2015! Holy Crap! Part 2: Blasts from the Past

Edge of Daybreak — Eyes of Love

Edge of Daybreak

Eyes of Love is intriguing for a number (or should I say Numero?) of reasons. The fascinating backstory, the fact that the recording took place at a correctional facility just outside Richmond, the electricity that comes from having to nail (and having nailed these) songs in one or two takes… But the thing I loved most about the re-release of Eyes of Love was the jam-packed event Steady Sounds held, which gave the band the opportunity to see firsthand that people are invested in the music they made all those years ago. Those songs didn’t just vanish into the air. The mistakes we make never stop being a part of us, but neither do our accomplishments, and I hope James Carrington signing my copy (pictured above) felt half as meaningful to him as it did to me.

Edge of Daybreak — “Eyes of Love” [Spotify/iTunes]

Syl Johnson — Complete Twinight Singles

Syl Johnson

Another awesome Numero Group release. Thanks to this extensive resource, which was released in August, I got to spend the second half of this year getting to know a large chunk of Johnson’s work, which now feels as canonical as it always should have. I had no idea my soul Mount Rushmore was missing such a crucial face.

Syl Johnson — “Is It Because I’m Black” [Spotify/iTunes]

William Tyler — Deseret Canyon

William Tyler

When Deseret Canyon was released on CD in 2008, it was credited to The Paper Hats, but the album was reissued earlier this year on vinyl under William Tyler’s name. It’s kind of confusing. It took me a while to wrap my brain around the whole thing. It also took my a while to commit to buying Deseret Canyon — I visited it at Plan 9 three or four times before taking the plunge. I’m glad I did though. If Daniel Bachman has taught me anything, it’s that being a generous listener — giving artists time and space to develop ideas gradually — pays big dividends, and Deseret Canyon is especially rewarding in this sense.

William Tyler — “Parliament Of Birds” [Spotify/iTunes]

Various — High Fidelity Original Soundtrack

High Fidelity

I was so thrilled to snag this on Record Store Day Black Friday. It’s hard to believe this had never been issued on vinyl in America. Or maybe it’s strangely appropriate, given the scene in which Jack Black won’t sell that poor sap a copy of Safe as Milk. Either way, those dark days are behind us, and vinyl nerds everywhere can revel in this truly excellent collection. Or as the Kinks might put it…

The Kinks — “Everybody’s Gonna Be Happy” [Amazon]

Stevie Ray Vaughn — A Legend In The Making

Stevie Ray Vaughn

SRV was the first guitar deity I worshiped, and while I hadn’t heard about this particular show before its release for RSD Black Friday was announced, one look at the track list sold me. See for yourself — lots of Hendrix, some of Vaughn’s best songs… makes me wonder why I haven’t been a more faithful congregant in recent years.

Stevie Ray Vaughn — “Little Wing” (Jimi Hendrix cover) [Discogs]

The Zombies — The BBC Radio Sessions

the zombies

OK so this turned out to be mostly a RSD Black Friday retrospective, but whatever — this is really fun stuff. I fell in love with the live-at-the-BBC format via the two Beatles BBC releases. Some interviews, some covers of songs that were popular at the time… you get a great sense for the moment in which these radio shows were recorded. Though it lacks some of the best Zombies songs, you still get to sit back and imagine hearing “Tell Her No” on the radio for the first time. How wild would that have been? And how wild is it to think about the power radio had back then? I’m telling you — this is fun stuff.

The Zombies — “Tell Her No” [Discogs]

More retrospective fun!

Part 1: Fav Physical Releases

AnEarful’s excellent “Out of the Past” post

 

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