These days albums travel almost as much as artists do. This particular well traveled one started in Nova Scotia, flew to France, spent time in Michigan, finally to London- Hey Mother Death’s Highway. Recorded on analog tapes, the album is smokey and soulful, reminiscent of a dimly lit Parisian speakeasy. It delves into free-jazz territory here and there, but never strays from a central beat to guide the listener through. There are allusions to the cinematic as well, comparable in tone to Egoyan’s Exotica.
The must-hear-on vinyl is out in September, the digital release is here brother, reeeeal here:
There’s a couple of fellows from Vancouver named Joel, and they have this band called The Mighty River. Their new album is 4 long-form songs, playing out like a folksy opera of sorts. It’s theatrical in the sense of acclaimed showman C.R. Avery or Flying Fox and the Hunter Gatherers- a crafting of half sung/half spoken narratives, with non-traditional song structures informed more by the telling of tales.
Will Wiesenfeld (aka Baths) sometimes makes chill ambient music as Geotic. Not ambient in the abstract, otherworldly glitchy sense, but rather in the rustic sense of creating in solitude- strumming a guitar with a tea before leaving for work, taking an afternoon off to play the piano, or humming new melodies to oneself on a quiet vacation away from the commitments and constraints of a career in the arts.
Here’s part 1 of Geotic’s next 3 albums, each focusing on a single instrument (guitar, voice, and piano):
Michael Rault’s “Living Daylight” takes its cues from just about every underrated, uncharted chapter in popular music history. If your parents loved it, it very likely inspired Rault’s electro-garage reinterpretations of 60’s pop.
Actually I was just thinking of listening to Brian Wilson’s “Smile” again this week, thanks for reminding me.