We recently adopted a cute little pup here at Orion’s Bastard HQ just as winter was setting in, which means that I’ve been eager to find things to listen to on early morning/late night walks. On the rare occasion where I am eager to get out of bed, this Haydn piano concerto has been fitting, but most of the time there’s nothing better than some warm drone to pass the time waiting for Ruby to finish finding an appropriate pooping spot.
Lately this album by Growing has been a favorite of mine, particularly this lead track. The Soul of the Rainbow and the Harmony of Light was put out on Kranky Records in 2004 and it serves as yet another reminder of what I could have been listening too if I hadn’t been so into Rush and Led Zeppelin at the time. Growing originally formed in Olympia, WA by Kevin Doria (electric bass guitar), Joe Denardo (electric guitar), and Zack Carlson (drums). Carlson left the group shortly after their debut album, with Doria and Denardo recording as a duo until Sadie Laska joined the group in 2009. Before joining the group, Laska participated as one of the 77 drummers in Boredom’s 77 Boadrum concert in New York City. Completists of this blog may remember that Taylor Richardson also performed in that concert, whose ongoing collaboration Infinity Window was featured in a track of the day post over three years ago. I’m not sure what’s more surprising, that I’ve had this blog for three years or that I remembered something from one of those posts.
Stratosphere is the title track off Duster’s first full-length album, which was released in 1998 on Up Records. Around the same time the members of Duster released an album called Hier Kommt Der Schwartze Mond under the name Valium Aggelein, which has a very similar feel to it and is also excellent from start to finish.
The group didn’t leave much behind in terms of an online presence and its members don’t have too many credits once the group disbanded with the exception of drummer Jason Albertini, who would eventually join the lineup of Built to Spill. Duster released one more album called Contemporary Movement in 2000 and from the looks of Discogs you’d be lucky to get your hands on any of them but if you do and don’t snatch it up yourself please be in touch. On a side note, there has to be a specific German word for the feeling of discovering a group like this in the post-What CD era, as the Valium Aggelein material doesn’t seem to be accessible anywhere.
The Lighthouse comes from Carlton Melton’s most recent release Mind Minerals from Agitated Records, which was released just at the beginning of February this year. While their earlier records had more of a psych sound (see Peaking Duck from their 2015 album Out To Sea), Mind Minerals is much more minimalist, blending improvised guitar and rhythm with dense drones, though tracks like Electrified Sky are definitely a little more psychedelic. I’d been getting away from drone and experimental stuff recently, but this release has pulled me right back in and I couldn’t be happier. I’ll confess I didn’t know much about Carlton Melton until recently, but I’m definitely going to try and keep tabs on them in the future.
One of the coolest live music experiences I’ve had was seeing Good Willsmith perform at a residency in Chicago where each of the three members was on a different floor of a three story building. I won’t bother trying to capture the feeling with a lot of adjectives, but it was a great show. I distinctly remember emerging onto the floor where Natalie Chami (aka TALsounds) was performing and after having seen both Doug and Max play solo it really hit home how much her vocals and synth work added to the group’s sound. That’s why I was so pumped to learn my local record store Eroding Winds had a copy of her solo record Love Sick from Ba Da Bing Records. I actually received it as a birthday present and when my gf asked about it, apparently the guy at Eroding Winds said he didn’t think anybody in town would buy it. I guess I have some evangelizing to do.
After listening to it a few times through yesterday, it’s hard to understand who wouldn’t enjoy this album, which consists of all improvisations recorded with no overdubs. In addition to performing as part of Good Willsmith and as a solo artist, Chami is also part of another ambient duo called l’éternèbre, which started in Chicago and is now a long-distance collaboration. The other half of the group records under the name grey ghost, and he appeared on one of the first tapes I bought from Hausu Mountain. It was the second volume of their Mugen series, and he actually shares the tape with TALsounds. You can hear more of her solo stuff over at her bandcamp and order your own physical releases of Love Sick here.
While I’ve been a fan of Thrill Jockey for a while, I only recently discovered Mountains by way of the Radio War Nerd podcast. After a few episodes of really good ambient music between segments they finally revealed their producer Brendon as the source, who works at Telescope Audio. Brendon is one half of Mountains along with Koen Holtkamp. They began releasing material as Mountains through their collective/label Apestaartje in 2005, which focused on “gradual development and extremely detailed listening.” In 2009 they released Choral, their first record on Thrill Jockey, and have released four more albums since then. After a few listens, this album in particular calls to mind another Thrill Jockey release by Town and Country, which I picked up on a whim because it was on sale and I have loved it ever since. Looking into Mountains for this post I found that Apestaartje also re-issued Town and Country’s self-titled debut from 1998, proving conclusively that all of the coolest people are friends with each other. You can pick up copies of this and other Mountains records over at the Thrill Jockey site.
At the beginning of February Justin Wright, the brains and brawn behind Expo ’70, sustained a serious injury to his hand. Given that he lives in America and this country’s healthcare is essentially bloodsport, someone has set up a fundraiser to support him while he recovers and to pay off his future medical bills. To that end, I wanted to share one of my favorite tracks off of a tape I brought from the man himself that makes me long for my old Toyota with the tape deck every time I hear it. I’ve written about Expo ’70 on a previous post so I won’t repeat it here, but suffice to say that he is a good guy who works his ass off making great music and if you can support him with a donation or by buying some of his music I’m sure he’d appreciate it. The Expo ’70 bandcamp page is here but this and many other tapes can be found at Sonic Meditations. If you can join me in donating please do or at the very least pick up some of his music. I have yet to hear anything I don’t like, but this tape is definitely among my favorites.
The Red Line is the final track on the long sought-after gem Ship-Scope, released in 2001 by the enigmatic Shinichi Atobe. Initially released by the German label Chain Reaction, Ship-Scope was reissued in 2015 by DDS, a label run by the experimental duo Demdike Stare. In addition to repressing Ship-Scope, Sean Canty and Miles Whittaker were also able to convince Atobe to release material he had been working on after the 2001 release and he has since put out two more albums also on DDS, World and From The Heart, It’s A Start, A Work Of Art. I couldn’t find much more information about Atobe, and frankly I’m okay with that as long as he keeps making music.