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Fifths of Seven – “Spry from Bitter Anise Folds” – [Les Disques Du Soleil] (CD)

This is a beautiful release from Canadian trio Fifths of Seven, featuring Beckie Foon from A Silver Mt. Zion and Esmerine on cello, Rachel Levine (mandolin) and Spencer Krug of Wolf Parade on piano. It starts with pretty strings and plucking and is filled out by piano and moments with a folkier, traditional sensibility. Quite nice.

-Cynthia Lombard

  • Reviewed by lombard on September 28, 2005 at 2:14 pm
  • Filed as A Library,CD
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  • Dalaba, Leslie – “Timelines” – [Tzadik Records] (CD)

    Released as part of Tzadik’s Oracle Series in October 2004, this is an amazing undertaking by trumpet player Lesli Dalaba. In an attempt to represent a history of the earth Dalaba did extensive research using geophysical and archeological data. She then plotted a timeline of the earth musically (see timesheet on CD and in the liner notes). Joined by Carla Kihlstedt (vioin), Zeena Parkins (harp), Ikue Mori (electronics) and Amy Denio (voice), Dalaba paints an intriguing portrait of the earth’s life, with sounds of water, buzzing, crackling, thunder, static, a march to symbolize human migration, and female voice.

    -Cynthia Lombard

  • Reviewed by lombard on September 28, 2005 at 1:53 pm
  • Filed as A Library,CD
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  • Arvo P?rt “Triodion” [Hyperion]

    Arvo P’rt‘s choral works from between 1996 and 2002 exquisitely sung by choral group Polyphony on the budget classical label Hyperion. Well-presented liner notes. His ‘tintinnabulation? style is still dominant in these eight pieces in various languages: English, Russian, Latin… The highlights are tracks 2 and 6, which are stunningly beautiful, 5 and 8 are also recommended. Arvo continues to prove Schoenberg right: there is still plenty of good music to be written in the key of C.
    1. Dopo la vittoria(10:00) – As dance-like as Arvo’s ever gonna get. Very Italian madrigal-like.
    2. Nunc dimittis(7:33) ‘A setting of the Nunc Dimittis, it is naturally a partner piece to his Magnificat that we have in the library.
    3. …which was the son of…(7:30) ? As funny as Arvo’s ever gonna get. A setting of one of those ‘X begat Y begat Z…’ bible texts.
    4. I Am the True Vine (10:15) ? A series of notes repeated with rhythmic fluctuation, spread around the voices. Blah.
    5. Littlemore Tractus (6:28) – A little help from the organ for this track.
    6. Triodion (14:13) ? Sublime setting of three odes from the Orthodox prayer book.
    7. My Heart’s in the Highland (9:11) – Setting of a Robert Burns poem, with organ and tenor soloist. Tenor rarely varies from his one note, very critically appreciated work but it drove me batty.
    8. Salve Regina (12:13) – More help from the organ for this work that builds to a big climax.

    -Cujo, Sept. 2005

  • Reviewed by cujo on September 23, 2005 at 3:48 pm
  • Filed as A Library,CD
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  • Uri Caine “Dark Flame” [Winter & Winter]

    Who is the greater genius? Uri Caine for adapting Mahler’s lieder music into these unusual arrangements, or Mahler for writing such universal music. As a devout Mahler fan, I approached this album with trepidation, and I still am trepidated. Notables violinist Mark Feldman and bassist Michael Formanek guest star. If you enjoy this, we also have the later album where Uri appropriates Schumann lieder, and we don’t have an earlier, different Caine/Mahler effort (Primal Light) focusing on the symphonies. My preferred tracks were 2, 5, 10, and 13, but I have the feeling you may have an entirely different set of favorites and may even consider this a five-star album.
    mahler-jazz fusion jam with piano, violin, trumpet, drums, and spoken word (track 1), woman singing gospel (2), cabaret (3), cabaret funeral waltz turns into caine original jazz turns into a narrated letter (4), an instrumental attempt at a funeral march and trio, with fireworks (5), chinese recitation and instrumentation (6), male German preaching over crazy guitar riff and pounding drums alternates with a motherly voice reciting English poetry over a piano-x duets (7), a man laments while the cabaret ensemble and mild electronics accompany (8), spoken word over the cabaret ensemble, still not too sure what he’s talking about after repeated listens. last words are ‘what was there to do… but die?’ (9), chinese instrumental (10), pleasant cabaret waltz with male vocal(11), short German spoken word over toy-pianoesque accompanist(12), lively instrumental cabaret arrangement. my favorite track, probably because it sounds most like the original Mahler (13), another version of track 2, but purely instrumental (14)
    -Cujo, Sept. 2005

  • Reviewed by cujo on September 23, 2005 at 3:44 pm
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  • David Coulter/Michael Gira/Jean Marie Mathoul/Charlemagne Palestine “Gantse Mishpuchah: Music in 3 Parts” [Fringes]

    Holy crap, this is intense. Three dense electro-acoustic drones that never let up and chill your bones. An album apparently recorded by correspondence between main players David Coulter, Michael Gira, Jean Marie Mathoul, and Charlemagne Palestine (all of whom except Mathoul are found elsewhere in our library). I have no idea what Gantse Mishpuchah means (is it Yiddish? Whole Shebang? Apr 2006: I have been alerted it means Whole Family), but one thing is clear: the apocalypse is upon us, and it is a drone.
    Part # one (22:17): Sounds as if inspired by an L.A. traffic jam. Makes the floor shake. Some bells/gongs/pianos are chimed along the way, and towards the end somebody is actually strumming a guitar.
    Part # two (15:35): Sounds as if the sounds of your Louisiana back porch was partially interpreted as a drone. Things that sound like frogs, owls, and creepy-crawlies interrupt the grasshopper-like drone. A thumping Afro-cuban beat melts in and out, as do some vocal and/or radio samples.
    Part # three (15:47): Sounds as if inspired by an orchestra of one-stringed cellos and basses tuning up before a concert. Unyielding organ. Faint clips of people talking – possibly an urban street scene, looping of said voices. It ends abruptly then is followed by a few seconds of sounds of wind.
    -Cujo, KFJC, September 2005

  • Reviewed by cujo on September 23, 2005 at 3:39 pm
  • Filed as A Library,CD
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  • Charles Ives “Holidays Symphony/Unsanswered Question (rev.)/Central Park in the Dark/Unanswered Question (orig.)” [Sony Classical]

    Washington’s Birthday (10:27): A wintry soundscape is difficult to break open. A vast simultaneous pop tune medley led by a jew’s harp livens the mood for a few minutes, until the cold sets in again. A solo violin tries to interrupt and keep the mood up, but ultimately fails.
    Decoration Day (9:57): What we would call Memorial Day. Quiet contemplation leads off the piece. The Dies irae is hinted at here and there. A trumpet plays Taps over tremolo strings, and then a brilliant march erupts as you head back into town. When asked to name a masterpiece, Stravinsky named this piece.
    The Fourth of July(6:04): Begins with a warped take on the Marseilles (the French national anthem!) Finishes with orchestral fireworks.
    Thanksgiving and Forefathers? Day (14:57): A calm giving of thanks gives way to a huge celebration around the dinner table. Strings and celesta then lead a phenomenal austere and pastoral interlude. Catharsis is reached when the chorus enters singing Duke Street – an incredible moment.
    The Unanswered Question (revised version) (7:13): over a slowly shifting bed of strictly diatonic strings, a trumpet asks a 5-note question, and a woodwind quartet answers. Repeat 5 times, woodwinds getting more and more atonal and crazed. Existential burning consumes you.
    Central Park in the Dark (7:26): You’re sitting in the park around 1900. It’s pretty quiet. As you begin to listen to your surroundings, all sorts of distant sounds and music become apparent. Before you know it, there’s music everywhere, and someone’s singing ‘Hello, my darling!? Then you come to your senses and it’s quiet again.
    The Unanswered Question (original version) (7:01): see above, but slightly more complex. I prefer the revised, but only because I heard it first…

    For fans of chaos, puritanism, yankee doodling, American music, bombast, rhythmic complexity, and for those unfamiliar with Ives. He is America’s greatest composer yet. This CD is quite possibly the desert island Ives CD.

    If you really enjoy the music on the disk, you should also check out Ives’ similar works “Three Places in New England” and his “2nd Orchestral Set – From Hanover Square North The Voice of the People Again Rose…” (or something like that).

    ‘Cujo, Sept. 2005

  • Reviewed by cujo on September 23, 2005 at 11:27 am
  • Filed as A Library,CD
  • 1 comment
  • Present Music “Haunted America” [Innova]

    Music commissioned and performed by Milwaukee’s Present Music chamber ensemble for their 2001-02 season. The Innova label was new to me, but I now dig it.
    Jerome Kitzke – HAUNTED AMERICA – (18:22): This 9/11 response piece is the highlight of the disc. The composer leads the percussion & chamber ensemble reciting snippets of Allen Ginsberg: ‘Hey America – What Haunts You?’. This wild and potentially emotional ride has an arresting bells-and-whistles start and on the way you will hear strains of native american, pop, and klezmer music. I even heard strains of China and Bobby McFerrin. And it ends with the always welcome outburst of laughter.
    Michael Torke – SONG OF ISAIAH – (13:45): Yuck. A woman interminably sings the Song of Isaiah over some indistinguishable circle-of-5ths and rhythmic structures.
    Kimmo Hakola – CHAMBER CONCERTO – (31:55 total): Yet another example of Finland exporting fantastic new music. Here is a 5-part suite with fun-to-pronounce Italian subtitles. I give permission to play individual movements by themselves. Very dramatic overall work with moods ranging from the angry (Sono furioso!) to the lyric (Sono amoroso!).
    – Cujo, Sept. 2005

  • Reviewed by cujo on September 23, 2005 at 11:20 am
  • Filed as A Library,CD
  • 1 comment
  • Boduf Songs – “Boduf Songs ” – [Kranky]

    Mat Sweet (nope not that one) comes from Southampton in the
    UK, a place where evidently the sun rarely shines through.
    Possibly eclipsed by the “Pitch Black Rainbow” Sweet pukes up
    on the leadoff track? Sweet’s narcoleptic vocals and laconic
    acoustic guitar still can’t dispel the sense that this album
    (and life itself) are fleeting. Cryptic lyrics toy with the
    flesh a la Devendra Banhart, and Sweet likewise enjoys the
    thickness of thin vocals double-tracked. All turns sour in
    Sweet’s world: wells are poisoned, steps are counted towards
    oblivion, the sun is blackened, and Sweet tells us that we
    are “sick of it down to our hearts…our souls…our bones”
    As much as I’m a melancholic-oholic, I found myself yearning
    for a bit more pep, some of which leaks into “Lost in Forests”
    and “Claimant Reclaimed” by way of a fractured Gastr del Sol
    feel. Evidently Sweet is involved with a half dozen other
    projects which span a variety of genres but tend to share a
    slowness. His work with sonic accoutrements is the highlight
    here, backwards guitar on #1, #8 (panned nicely on the latter)
    bowed songs and maybe bowed birds (is that their death-chirp
    rattling?). The two instrumentals (#3, #7) are gorgeous and shimmering. I could see a cross-the-Atlantica collabortation
    with Steven R. Smith in the offing.

  • Reviewed by Thurston Hunger on September 22, 2005 at 9:22 pm
  • Filed as A Library,CD
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  • Ferrari, Luc – “Anecdotals, the ” – [Sub Rosa]

    I bought this and another Ferrari shortly before his passing
    (8/25/2005). Quelle drag… This album is a great set of
    splicing decisions with sound recordings he made from world
    travels. Much of the sounds from *after* the year 2000, so
    though he was 76, we still feel cheated…he still sounds
    playful. Americans might jump to #10, but the polyglot power
    of the other tracks cannot be ignored. The “Numero Quatro”
    rhythm of the lead-off track is so insistently infectious,
    it even spreads to the mad cow madness of #9. In Ferrari’s
    hands and our ears, the world becomes a smaller, yet more
    wonderful place…

    In reading online, I see this quote from Ferrari that may
    fit the recording/restructurings we find here…

    “…radio was something completely new. I was a kid
    during the Second World War and even before that my
    parents had one of the first radio sets, and there was
    Radio London. I can still remember those four timpani
    strokes, and then that mishmash of voices scrambled by
    electronic devices, through which you could hear those surrealistic messages, like cadavres exquis!

    Though he’s an exquisite corpse now, he was better alive
    …and is surely, sorely missed.

    Haiku review times two:

    Eaves dropping delight
    Anecdotal evidence
    Of Ferrari’s dreams

    Sound invigorates
    Decomposing composer
    Concrete comes alive…

  • Reviewed by Thurston Hunger on September 22, 2005 at 9:21 pm
  • Filed as A Library,CD
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  • Zu – “Way of the Animal Powers, the ” – [Xeng]

    Amazing how many bruises this album leaves on you after only
    25+ minutes. Italian heavy hitters this time collaborate with
    Fred Lonberg-Holm. The title is inspired by a Joseph Campbell
    book; the myth explored here is that of the saxaphone snake
    that slinked into the Garden of Rock, and convinced Adam and
    Eve (that’s us listeners) to abandon our prejudice favoring
    only the guitar as the chosen instrument. While they’ve
    connected to Chicago before via Spaceways, Inc, this time
    Lonberg-Holm followed the every road leading to Rome, and
    brought with him a sizzling amplified cello. This band is
    so heavy, so cohesive, so potent. Simply one of the best rock
    bands going today bar none… Massimo delivers damaged yet
    fortified bass at the same time, Luca Tomasso’s sax is the
    flaming totem, but this time out is was Jacopo’s drums that
    really caught my ear, and damn well tore it off. He even
    offers exuberant vocals on the closing number. (There’s also
    spoken words about Monte Cazzaza on the lead-off track.)

    Zu Haiku Zu True
    Zu Bruises Zu Zu Be Do
    Zu Sax Drums Bass Zu

  • Reviewed by Thurston Hunger on September 22, 2005 at 9:18 pm
  • Filed as A Library,CD
  • 1 comment
  • Eye Contact – “Embracing the Tide ” – [Utech]

    Eye Contact proved to be quite an eye-opener and ear-charmer.
    Matt Lavelle is the catalyst here on bass clarinet (with
    riveting digeridoo undertones on the first track) as well as
    flugelhorn and trumpet (“Wiz Church” features a tight muted
    solo over some skippery high bowing by bassist Matt Heyner.)
    Though its title features a watery, this CD conjured images of
    mountain climbing to me, that rush of how’d they get so high.
    Simply put this is a STAGGERING release. Gotta hear more from
    Lavelle who evidently escaped us for a decade or so in NYC.
    The first track gets a ground-clearing by Heyner and drummer
    Ryan Sawyer, then Lavelle just scorches (is that a) bcl? It
    sounds like a hornet in a shenai for minutes before dropping
    down into the familiar bubbly register. At 13 1/2 minutes in,
    though getting stronger all the time, the piece takes a quiet
    chimed tone with slow poetic playing, then a long enjoyable
    climb back to thrilling heights. Next track is a horserace
    neck-and-neck Lavelle galloping trumpet against Sawyer, at
    the end the darkhorse bcl emerges to win. He brings flavors
    of Addis Abada at the end of “Wiz Church.” And then all holy hell breaks out for “Father” – pure passion!

  • Reviewed by Thurston Hunger on September 22, 2005 at 9:17 pm
  • Filed as CD,Jazz
  • 3 comments
  • Rogers Sisters, the – “Les Fantaisies Sont Bien ” – [Troubleman Unlimited]

    Well this petit nombre was un hit fantastique back when they
    sung in Uh-merican. It gets French kissed this time around
    (although their still screaming in English). That same great
    riff, the saxamoan swirl…the talky bits (albeit coated in
    francaise sauce…).

    On the flip, “45 Prayers” (like its Angli-kin also found on
    the most recent “Three Fingers”), is served for strangers
    in strange lands, this time Miyuki Furtado Japanslates
    the number…though it retains its heavy breathing beat
    texture as well.

    The Rogers Sisters were born on turntables, (Daddy owned
    a record store) long may they spin… I sure look forward
    to their next record…

    Haiku Review:
    Fantasies are nice
    Nicer still through french kissed lips
    Foreign exchange fun

  • Reviewed by Thurston Hunger on September 22, 2005 at 9:15 pm
  • Filed as 7-inch,A Library
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  • Oneida / Plastic Crime [coll] – [Brah]

    Oneida (and this is the first imprint of Oneidan Fat Bobby’s
    label) get a rustic rhythm going up and over the levee
    with tub-thump drum and dangling banjos…on top of it a
    drifty falsetto riding the rails of this railroad car rock.
    About two thirds of the way, all the strings pile into
    the caboose and cut loose from the insistent percussion.
    Modern minstrel mode, but Bobby sends a synth pulsar in the
    stead of the heavy beat, every bit as hypnagogic.

    Chicago’s Plastic Crimewave Sound’s “End of Cloud” may be
    mistitled. As this number to me sounds far more terrestial,
    like a pounding, probing tunnel to the center of the earth.
    Relentess dum-drum thwack attack and magma-coated guitar
    sparking along the sides drive this deeper and deeper. At
    some time, a sort of chanting is “unearthed” are we going
    to reaquaint ourselves with the Residents Molemen? Are we
    going to find an alternate university with members of Gong
    forever youthful?’ Or are we going to hear some scattered
    and slow-slurred poesy? Ah, ya peeked…

  • Reviewed by Thurston Hunger on September 22, 2005 at 9:13 pm
  • Filed as 12-inch,A Library
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  • Silva, Alan & Parker, William – “A Hero’s Welcome ” – [Eremite]

    Gothic improv? At least parts have that sort of shadow and
    spire sonic architecture, certainly when William Parker bows
    his strings with the slow squeak of rusty cemetery gates.
    Parker covers a lot of territory under the sounds of Silva,
    spinning spidery webs of sound from contrabass. Moments when
    he gets slappy and twitchy like on the beginning of the last
    track summon an Ennio Morricone tenseness. Sometimes Silva’s
    experimental keys (is it the Synclavier from “Emancipation
    Suite?”) get crazy otherworldly, but he deftly switches at
    just the right times to the acoustic piano (which sounds
    like it was recorded on a new wood stage right at ear level.)
    Back to earth, back inside the atmosphere. Just gorgeous.
    I was stunned when I heard an audience at the end. They
    were quiet as the night sky during the performance.
    Midi-timpani (?) thumps away on the beginning of #4, the
    thunder spoke and conversed with short staggers of piano.
    A nice reminder of piano as percussion. The piano itself
    never lurches and searches like the synth, its interspersal is the grounding that keeps the rest aloft.

    Haiku review:

    Silva screens synth dreams
    Parker stretches canvas wide
    Images collide

  • Reviewed by Thurston Hunger on September 22, 2005 at 9:12 pm
  • Filed as CD,Jazz
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  • Nortt / Xasthur [coll] – [Southern Lord Recordings]

    It’s the age-old story, monster meets girl, monster and girl
    fall in love, girl realizes monster is indeed a monster, girl
    tries to leave, monster writes love songs build on electric
    piano dirge and shards of crackle guitar. That’s the first
    three tracks of Nortt, the last track a more spacious synth
    abyss float allows us time to ponder whether monster actually
    ate girl. Meanwhile, Xasthur comes along with a sort of
    Thin Lizzy guitar buried in the reverby grave of the Cocteau
    Twins. “Blood from the Roots of the Forest” is the standout
    with a lengthy hyperdramatic, standing-in-a-wind-tunnel intro
    that gives away to more downed doom minor chord mope, but
    then someone fires up the bass-drum pacemaker. On the closer
    “Lurking in Silence” we see that Xasthur really wants to be
    Mortiis sitting at a piano overlooking the cliffs. Good music
    for a slasher cartoon. I hope KFJC’s Trix-ter is right and
    these one-man metal bands unite into a true five-piece band,
    there needs to be some serious in-fighting and friction added
    to take this up a notch (or down a ring into the inferno).

  • Reviewed by Thurston Hunger on September 22, 2005 at 9:11 pm
  • Filed as A Library,CD
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  • Camberwell Now – 22All27s Well 22 – 5BRec Rec Music5D

    After This Heat flamed out, drummer/vocalist Charles Hayward recorded with Trefor Goronwy (bass, vox and more) and Stephen Rickard (mucking about with tapes) as Camberwell Now. This CD compiles all of the odd art-damaged and deliberate work from that project during its lifespan (1982-86). Much of the work has a morose charm (although the snake-tape handling on “Spirit of Dunkirk” moves more spritely.) Haywards taut
    drumming is surpassed only by his interesting lyrical tangents.We wind up with tales of setting sail, of working class weariness. His poetic voice has a nice prophetic thickness to it, and while the songs aren’t easily loaded into memory, once in there they are not easily extracted. Singing styles
    are also elasticated into characters, something not enough bands are brave enough to do. I loved this album well before I hit track 10 (another more upbeat number) and found myself singing along to the mantra of my favorite DC hero,

    “In brightest day, in blackest night…”
    ” No evil shall escape my sight…”

    Holy Hal Jordan!! Fortunately this didn’t escape the ear of the sonic crusaders at Recommended Records!!

    Haiku Review:

    This Heat afterburn
    Bright sun shines in lyric mind
    Dark drums beat below

  • Reviewed by Thurston Hunger on September 22, 2005 at 9:05 pm
  • Filed as A Library,CD
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  • Mccombs, Cass – “Prefection ” – [Monitor]

    Juggling fact and fiction via the arching use of
    slowcore-inspired organ/keyboard/guitar textures
    of repetition, CASS is back ??? good news for fans
    who favor rough-edged yet pretty pop???.???Equinox???
    opens things with a ringing guitar pattern/swelling
    keyboards/syncopated bass notes, each given a
    turn at carrying the melody???

    ???Of all the creatures in the wood /
    one law is perfectly understood /
    Deep in the heart of Fountainbleau /
    The marriage of a whore and a Jew /
    the bride???s true dowry black rocks??????

    ???Subtraction??? builds on a frenetic drum line & one-note
    bass???.extra clean guitar work on ???Sacred Heart??? lights
    dark lyrical corner with bright musical fa???ade???.???Cuckoo???
    is a sulking slouch of perverse moodiness, grey with
    foreboding?????????Tourist Woman??? finds MCCOMBS calling
    the kettle black with ???.???Romantics are doomed / and
    that???s a good thing???.??? Elusive, allusive, high concept
    and obscurantist, CASS MCCOMBS (best on # 1, 2, 5,
    6, + 9) continues to produce high-quality indie pop.
    MITCH September 2005

  • Reviewed by mitch on September 16, 2005 at 12:47 am
  • Filed as 12-inch,A Library
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  • [coll] “PDX Pop Now! 2005″ -[PDX Pop Now] (CD)

    Non-Profit PDX Pop Now! has as its mission to evangelize music from Portland, Oregon via festivals and compilation CDs. In advance of their August 2005 festival (free and all-ages) they released this collection of Portland artists. It includes heavyweights like Sleater-Kinney and Decembrists (with a previously unreleased demo) along with a variety of pop, rock, electronic, and miscellaneous genred artists. There’s a nice 4-track recording from Mirah, a fun electronic piece from Glass Candy, upbeat girl rock from the Gossip, and a European-feeling gypsy-ish track from Shicky Gnarowitz.

    Haiku:
    Portland promoters
    Pop Rock Electronic Odes
    Lovely Ladies too

    (added 9-14-2005)
    -Cynthia Lombard

  • Reviewed by lombard on September 14, 2005 at 1:51 pm
  • Filed as A Library,CD
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  • [coll] “A Second Tribute to Jandek: Down in a Mirror” [Summersteps] (CD)

    Reclusive artist Jandek played his first live concert ever in fall 2004 and his first show in the U.S. in August 2005 and played a few more in September, including a NY show. This tribute to him, released in summer 2005 comes out just in time to celebrate his emergence from obscurity. Acoustic, folky, weird spoken word, psychedelic are terms to describe the folks covering Jandek on this release. George Parsons (#10) has the weird spoken piece, Marshmallow Staircase (#8) takes the psych route, and KFJC faves Six Organs of Admittance, Mountain Goats, Okkervil River and Kawabata Makoto round it out. Lots of lo-fi stuff to inspire.

    Haiku Review:

    Jandek fans rejoice
    Folk psychedelic sojourns
    Lo-fi beauty nice

    (added 9-14-05)
    -Cynthia Lombard

  • Reviewed by lombard on September 14, 2005 at 1:38 pm
  • Filed as A Library,CD
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  • Eau Claire – “Eau Claire Ep, the” – [Clairecords]

    Released in May 2005 this is an ethereal EP featuring Jessica Bailiff and Rachel Staggs. Bailiff lives in Toledo and released her first album in 1998. Staggs lives in Austin, Texas and was in Austin bands Swells and Experimental Aircraft. Recorded and produced by Low’s Alan Sparhawk (an old friend of Bailiff’s), Eau Claire’s EP is misty, spacy, and fuzzy with buried female vocals. It’s reminiscent of shoe gaze, space rock, with nods to bands like My Bloody Valentine and the mellow side of Lush. Nice beauty. (added 9-14-2005)

    -Cynthia Lombard

  • Reviewed by lombard on September 14, 2005 at 1:26 pm
  • Filed as A Library,CD
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