mixtapes for weathers and moods / music for good days and bad days

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2017. október 17., kedd

THE MAN WHO SOLD THE WORLD. FAVTRAX:MiX ~ 50 FAVOURiTE tracks 1970-1978 / 4h 36m

Bowie in his apartment at Haddon Hall, Beckenham, in 1970

THE MAN WHO SOLD THE WORLD. FAVTRAX:MiX ~ 50 FAVOURiTE tracks 1970-1978 / 4h 36m  >>David Bowie, Led Zeppelin, MC5, John Mayall, The Doors, Gentle Giant, Natural Food, JJ Cale, David Bowie, Peter Hammill, Isotope, Soft Machine, Al Di Meola, Miles Davis, Robin Trower, Gong, Frank Zappa<<


favtraxmix label The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza.   



The mercurial music icon widely considered the original pop chameleon and figurehead for countless musical movements. 
David Bowie
The Man Who Sold the World (David Bowie) 4:01
The Width of a Circle (David Bowie) 8:12
She Shook Me Cold (David Bowie) 4:17
from The Man Who Sold the World 1970
Even though it contained no hits, The Man Who Sold the World, for most intents and purposes, was the beginning of David Bowie's classic period. Working with guitarist Mick Ronson and producer Tony Visconti for the second time Bowie developed a tight, twisted heavy guitar rock that appears simple on the surface but sounds more gnarled upon each listen. The mix is off-center, with the fuzz-bass dominating the compressed, razor-thin guitars and Bowie's strangled, affected voice. The sound of The Man Who Sold the World is odd, but the music itself is bizarre, with Bowie's weird, paranoid futuristic tales melded to Ronson's riffing and the band's relentless attack. Musically, there isn't much innovation on The Man Who Sold the World -- it is almost all hard blues-rock or psychedelic folk-rock -- but there's an unsettling edge to the band's performance, which makes the record one of Bowie's best albums.

Acknowledged as the most successful and influential band of the heavy rock era, with a catalog that continues to inspire. / What the Beatles were to the '60s, Led Zeppelin were to the '70s: a band so successful and innovative they wound up creating the prism through which their entire epoch was seen. Zeppelin ushered in the era of album rock -- they refused to release singles off their albums, even when they were garnering massive radio play -- and of arena rock, playing ever-larger stadiums as their ticket sales skyrocketed. 
Led Zeppelin
You Shook Me (Willie Dixon / J.B. Lenoir) 5:14
I Can't Quit You Baby (Willie Dixon) 4:23
Communication Breakdown (John Bonham / John Paul Jones / Jimmy Page) 3:11
Dazed and Confused (Jimmy Page) 6:39
from The Complete BBC Sessions (Rec. 1969-1971)
Back in 1997, Led Zeppelin released BBC Sessions, the band's first attempt to chronicle its heavily bootlegged live recordings for the British Broadcasting Corporation...

Rock revolutionaries and progenitors of punk, with a musical and political stance that crystallized around sex, drugs, and rock & roll.
Sister Anne (Fred "Sonic" Smith) 7:21
Gotta Keep Movin' (Dennis Thompson) 3:24
from High Time 1971
MC5 were nearing the end of their long and bumpy trail when they cut High Time in 1971, and it was widely ignored upon initial release. While it lacks the flame-thrower energy and "off the man!" politics of Kick Out the Jams or the frantic pace and "AM Radio of the People" sound of Back in the USA, High Time sounds like MC5's relative equivalent to the Velvet Underground's Loaded, their last and most accessible album, but still highly idiosyncratic and full of well-written, solidly played tunes...

Major British blues bandleader who, starting in London in 1963, featured some of the most successful rock musicians of the '60s and '70s. 
John Mayall
Country Road 7:16
Mess Around (John Mayall) 2:51
Good Time Boogie 9:17
from Jazz Blues Fusion 1972
The first side is from a gig in Boston at the Boston Music Hall on 18 November 1971, and the second side was selected from two concerts at Hunter College, New York, on 3 and 4 December 1971.
Freddy Robinson - lead guitar, Larry Taylor - bass guitar, John Mayall - vocals, piano, guitar, harmonica, Ron Selico - percussion, Blue Mitchell - trumpet, Clifford Solomon - alto & tenor saxophone
John Mayall & Freddie Robinson

Mystical blues-based rock group based around the dark poetry and shamanic presence of Jim Morrison. / The Doors, one of the most influential and controversial rock bands of the 1960s, were formed in Los Angeles in 1965 by UCLA film students Ray Manzarek, keyboards, and Jim Morrison, vocals; with drummer John Densmore and guitarist Robby Krieger. The group never added a bass player, and their sound was dominated by Manzarek's electric organ work and Morrison's deep, sonorous voice, with which he sang and intoned his highly poetic lyrics.
The Doors
Break on Through (The Doors) 2:25
Shaman's Blues (Jim Morrison) 4:47
Peace Frog/Blue Sunday (Robby Krieger / Jim Morrison) 5:00
from Weird Scenes Inside The Gold Mine 1972
Originally released in 1972, Weird Scenes Inside the Gold Mine was one of the earliest "best-of" Doors collections, compiling 22 tracks from the band not just limited to their many ubiquitous hits but including some more experimental tunes and a few obscure B-sides. This strange and sprawling playlist is heavy on material from L.A. Woman, and seems particularly invested in the darker, more sinister side of the band...

Acclaimed British progressive rock band noted for its heavy classical influence and unique use of vocal counterpoint. / Formed at the dawn of the progressive rock era in 1969, Gentle Giant seemed poised for a time in the mid-'70s to break out of its cult-band status, but somehow never made the jump. Somewhat closer in spirit to Yes and King Crimson than to Emerson, Lake & Palmer or the Nice, their unique sound melded hard rock and classical music, with an almost medieval approach to singing.
Gentle Giant
The Runaway (Kerry Minnear / Derek Shulman / Ray Shulman) 7:24
An Inmate's Lullaby (Kerry Minnear / Ray Shulman) 4:31
Way of Life (Kerry Minnear / Derek Shulman / Ray Shulman) 7:52
In a Glass House (Kerry Minnear / Ray Shulman) 8:25
from In A Glass House 1973
Gentle Giant was reduced to a quintet on In a Glass House with the departure of elder brother Phil Shulman, but its sound is unchanged, and the group may actually be tighter without the presence of his saxophones. The time signatures are still really strange, and the tempo changes are sometimes jarring, as is the wide range of dynamics, but this is also one of the group's most pleasing records...

Natural Food
Mait EdeyJohn Abercrombie, Phil Morrison, Lance Gunderson
Pendulum 4:38
Siren Song 4:29
See See Rider 4:27
from Natural Food 1973
Pianist and composer Mait Edey, then a college student, was an adventurous musician; he'd been involved with various forms of roots music from across the spectrum... It is a blues record like no other blues record that has ever been cut, because it was essentially made by group of blues players, jazz players, rock players, and a vocalist who wasn't a formal singer. It also features Edey's Fender Rhodes in the forefront, making it funky as all get out... The players in this band are perhaps not well known, but have interesting pedigrees nonetheless: saxophonist (one of the two here, the other is Billy Thompson) Bill Hurd is an award winning player and already was by then; he is also Charles Lloyd's nephew. Those who follow jazz guitar closely will know guitarist Lance Gunderson, who by this time had already performed with Joe Henderson and Chico Hamilton. Bassist Phil Morrison was a veteran of T-Bone Walker's road band; the other bassist (they alternate), Charlie LaChapelle, was part of Hal Galper's band. There is this other guy who you may know as well. They called him John Crumbles back then; he is known by his real name now: John Abercrombie, and he guested on a track here, and there's also drummer Craig Herndon, who's part of the Heikki Sarmanto quartet! The third guitarist was Paul Lenart. As far as we know, singer Brenda "Latifah" James hasn't been heard from since her excellent performances on three of these tunes.

With his laid-back rootsy style, J.J. Cale was best known for writing "After Midnight" and "Cocaine," songs that Eric Clapton later made into hits. But Cale's influence wasn't only through songwriting -- his distinctly loping sense of rhythm and shuffling boogie became the blueprint for the adult-oriented roots rock of Clapton and Mark Knopfler, among others.
J.J. Cale
Crying (J.J. Cale) 2:35
Cajun Moon (J.J. Cale) 2:11
Okie (J.J. Cale) 1:57
from Okie 1974
Cale moves toward country and gospel on some songs here, but since those are two of his primary influences, the movement is slight. And longtime producer Audie Ashworth attempts to place more emphasis on Cale's vocals on some songs by double-tracking them and pushing them up in the mix. But much of this is still low-key and bluesy in what was becoming Cale's patented style.

The mercurial music icon widely considered the original pop chameleon and figurehead for countless musical movements. / The cliché about David Bowie is that he was a musical chameleon, adapting himself according to fashion and trends. While such a criticism is too glib, there's no denying that Bowie demonstrated a remarkable skill for perceiving musical trends at his peak in the '70s.
David Bowie
Future Legend (David Bowie) 1:00
Diamond Dogs (David Bowie) 6:04
Sweet Thing (David Bowie) 3:39
Candidate (David Bowie) 2:40
Rebel Rebel (David Bowie) 4:34
from Diamond Dogs 1974
David Bowie fired the Spiders from Mars shortly after the release of Pin Ups, but he didn't completely leave the Ziggy Stardust persona behind. Diamond Dogs suffers precisely because of this -- he doesn't know how to move forward. Originally conceived as a concept album based on George Orwell's 1984, Diamond Dogs evolved into another one of Bowie's paranoid future nightmares...

Founder of Van Der Graaf Generator, and solo artist who has covered styles ranging from progressive to lo-fi rock. / Peter Hammill is a prolific songwriter, singer, and co-founder of Van Der Graaf Generator; he has also released dozens of solo recordings on a series of labels and later on his own Fie! Records. Though he never attained the public profile of fellow countryman David Bowie, Hammill's recording career has proven just as groundbreaking and uncompromising.
Peter Hammill
Nadir's Big Chance (Peter Hammill) 3:33
The Institute of Mental Health, Burning (Peter Hammill / Christopher Smith) 3:32
Open Your Eyes (Peter Hammill) 5:13
from Nadir's Big Chance 1975
Representing a stylistic left turn for Peter Hammill, this raucous, messy, rock platter was often cited as an influence by the first wave of punks in England (the second album was often cited for being David Bowie's influence for Diamond Dogs). While essentially proving himself incapable of writing three-minute, three-chord rock & roll numbers, Hammill (taking on the guise of Rikki Nadir, i.e. dumb garage rocker) lays into his guitar with a vengeance, screaming out lyrics that are often unintelligible (the album did not come with a lyric sheet; this was the first Hammill album ever to make the listener depend upon the recording), while Guy Evans, Nic Potter, David Jackson, and Hugh Banton thrash along behind him... Hammill would never let himself be this wild and hairy again.

The more-jazz-than-rock fusion band Isotope may have not had the longest career, but they played an integral part in the Canterbury Scene with some of its key players spending time in the band.
Mr.M's Picture 4:52
Another Side 3:59
Deep End 8:21
from Deep End 1975
Guitarist Gary Boyle had been playing in Dusty Springfield's band for a couple of years before he caught the prog rock bug. He got it while playing in Brian Auger & the Trinity and afterward decided to go back to school to further his musical studies. After leaving school he played with Keith Tippett and Mike Gibbs, but it was in Stomu Yamash'ta's East West band that he met drummer Nigel Morris. The two formed Isotope in 1973 and soon bassist Jeff Clyne was onboard. The band's self-titled debut appeared in 1974, followed soon after by Clyne's departure. Former Soft Machine bassist Hugh Hopper joined the band in March of 1974, the same year Boyle was to place third in the category of "Best British Guitarists" in Melody Maker's reader poll. Keyboardist Laurence Scott was added to the band for 1975...

A pioneering Canterbury psychedelic group that initially featured Robert Wyatt and Kevin Ayers, later developing into an experimental jazz-rock unit. / Soft Machine were never a commercial enterprise and indeed still remain unknown even to many listeners who came of age during the late '60s and early '70s, when the group was at its peak. In their own way, however, they were one of the more influential bands of their era, and certainly one of the most influential underground ones. One of the original British psychedelic groups, they were also instrumental in the birth of both progressive rock and jazz-rock. They were also the central foundation of the family tree of the "Canterbury Scene" of British progressive rock acts, a movement that also included Caravan, Gong, Matching Mole, Hatfield and the North, and National Health, not to mention the distinguished pop music careers of founding members Robert Wyatt and Kevin Ayers and the jazz and jazz-rock explorations of saxophonist Elton Dean and bassist Hugh Hopper.
Soft Machine
Aubade (Karl Jenkins) 1:51
The Tale of Taliesin (Karl Jenkins) 7:17
Ban-Ban Caliban (Karl Jenkins) 9:23
from Softs 1976
At this point in the band's history, Soft Machine might be considered an example of Theseus' paradox, akin to the original axe that George Washington used to cut down the cherry tree -- original except that the head had been replaced three times and the handle twice. On Softs, Mike Ratledge, the only remaining original bandmember present on Bundles, the group's preceding Harvest LP, was relegated to guest status, contributing synthesizer to only two tracks, "Song of Aeolus" and "Ban-Ban Caliban." Otherwise, keyboard duties now fell completely to Karl Jenkins, who joined the band prior to the recording of Six and had gradually taken over the conceptual reins as the Softs finished their tenure with Columbia and moved over to Harvest. On Softs more than ever before, Soft Machine was Jenkins' band; he composed fully seven of the LP's 11 tracks, making the album a vehicle for his own artistic conception. And yet, as Soft Machine albums go, this one is just fine, thank you. Jenkins had always put his own personal stamp on the material he wrote for the band, but he also retained elements of a Soft Machine style that emerged around the time Ratledge began penning LP side-long opuses on Third: a marriage of modalism and minimalism with simple but memorable themes in layered counterpoint and an occasional backdrop of rippling, echoey overdubbed electric keyboards, giving the music a trippy, trance-inducing quality. Nimble keyboard and reed solos were also an important element of the Soft Machine sound, although, as the band entered its Harvest fusion period, they tended to take a back seat to the work of fleet-fingered electric guitarists, first Allan Holdsworth on Bundles and then John Etheridge here...

Spellbinding jazz guitarist who is revered for his blazing, complex fretwork in the vein of jazz fusion, Latin fusion, and acoustic styles. / Guitarist Al Di Meola first rose to prominence as a blazing jazz fusion artist before his playing matured and he began to conquer other styles, such as acoustic Latin music.
Al Di Meola
The Wizard (Mingo Lewis) 6:46
Land of the Midnight Sun (Al Di Meola) 9:10
Suite - Golden Dawn (Morning Fire - Calmer Of The Tempests - From Ocean To The Clouds) 9:49
from Land of the Midnight Sun 1976
This is a good (1976) debut by electric/acoustic guitar virtuoso Al Di Meola, who originally came to my attention through his work with jazz rock outfit Return to Forever. Al is truly a musician’s musician, which is why my orchestra/jazz band cronies and I would pore over every note of this album in high school.

The epitome of cool, an eternally evolving trumpeter who repeatedly changed the course of jazz between the 1950s and '90s. 
Miles Davis
Water Babies (Wayne Shorter) 5:06
Capricorn (Wayne Shorter) 8:27
Splash (Miles Davis) 10:05
from Water Babies 1977
This studio LP was first released almost a decade after it was recorded. The first half features the 1967 Quintet (with Wayne Shorter on tenor and soprano, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams) performing three otherwise unknown Shorter compositions. The flip side finds Davis in 1968 leading the same group (with possibly Chick Corea and Dave Holland replacing Hancock and Carter) on two early fusion jams that look a bit toward Bitches Brew...

One of rock's prime guitarists, due to his uncanny ability to channel Jimi Hendrix's blues-psych, Fender Strat-fueled playing style. / Throughout his long and winding solo career, guitarist Robin Trower has had to endure countless comparisons to Jimi Hendrix due to his uncanny ability to channel Hendrix's bluesy/psychedelic, Fender Strat-fueled playing style.
Robin Trower 
Somebody Calling (James Dewar / Robin Trower) 4:58
Bluebird (James Dewar / Robin Trower) 5:33
In City Dreams (James Dewar / Robin Trower) 5:14
from In City Dreams 1977
In City Dreams marked a change in direction for Robin Trower. He played his axe just as sweetly as before, but he began to put more emphasis on song accessibility. Additionally, he brought in a funk-style bass player named Rustee Allen to give more punch to the rhythm. The album was a welcome change from the misty, murky blues of his earlier records, but the songs weren't strong enough to effectively displace what had made his name in the first place: potent guitar work...

Anarchic, experimental, and whimsical ensemble originally led by guitarist Daevid Allen, a founding member of the Soft Machine. 
Heavy Tune (Pierre Moerlen) 6:22
Sleepy (Mireille Bauer) 7:17
Three Blind Mice (Benoit Moerlen) 4:47
from Expresso II 1978
... Expresso II finds Pierre Moerlen's Gong at their peak. Like their previous studio release, Gazeuse!, the album is instrumental, the music is very polished, the sound very clean. Vibes and xylophone dominate on this album, somewhat reminiscent of the sound Zappa achieved through Ruth Underwood on One Size Fits All just three years earlier...

The creator of radical rock during the '60s who later pursued even more adventurous avenues, ranging from jazz-rock to classical composition.
Frank Zappa
Lemme Take You to the Beach (Frank Zappa) 2:44
Revised Music for Guitar & Low Budget Orchestra
Frank Zappa) 7:35
Rdnzl (Frank Zappa) 8:13
from Studio Tan 1978
Studio Tan is one of four albums culled from the ill-fated 1976 box set Läther and released by Warner Bros. without Frank Zappa having a word to say about the final product (including the horrible artwork)... Side two features an intentionally stupid pop song, "Lemme Take You to the Beach," and two instrumental pieces written a few years earlier. The personnel is for the most part the same as on Roxy & Elsewhere...

2017. október 15., vasárnap

FiRE AND iCE # 44 alter tracks in PRSNT_PRFCT_MiX: 3h 03m (from last few years)

FiRE AND iCE # 44 alter tracks in PRSNT_PRFCT_MiX: 3h 03m (from last few years) Jessica Hernandez & the Deltas, Juiceboxxx, The Drones, FKA Twigs, Diamond Rugs, Jack Ladder & The Dreamlanders, King Mud / Freddy J IV, Ani Cordero, Angelo Badalamenti, Elephant Stone, Gang of Four, Modest Mouse, Frank Ocean, Run the Jewels, Twin Peaks, Chromatics, Johnny Jewel, Trouble, Rebekah del Rio, The Veils


pres_perf_mix # The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza. 


Jessica Hernandez is the frontwoman and chief songwriter for Jessica Hernandez & the Deltas, a wide-ranging, high-energy rock & roll band from Detroit. Their mercurial, often gritty sound reflects all of the Motor City's musical traditions as well as some outside its geographical and multicultural boundaries. In the band's thoroughly modern, driving mix are traces of Motown, tough vintage R&B, Latin grooves, raucous surf, neo-psych, roots rock, cinema jazz, and retro '60s girl group pop.
Jessica Hernandez & the Deltas
Gritty, high-energy Detroit rock & roll band whose sound embodies everything from Motown to early surf, psych, carnival, and girl group pop. 
Bombay 3:53
Telephone 4:40
Fire and Ice 3:26
from Telephone 2017
Telephone is the Anglo half of Jessica Hernandez & the Deltas' sophomore long-player. Its counterpart, Teléfono, offers the same songs recorded in Spanish, sounds remarkably different, and is available separately. The doubling isn't a gimmick. Hernandez -- who grew up on Detroit's Southwest side, which has a large Latino population -- and the Deltas spent a great deal of time touring their 2014 debut, Secret Evil, across the American Southwest, encountering a large number of Latin fans. Simply put, Hernandez wanted to create an album that served both sides of her fan base...

Midwest producer and performer with roots in rap, pop, punk, garage, and classic rock; described by Public Enemy's Chuck D as "the Buddy Holly of Hip Hop." 
Freaking Out 2:39
Go to the Club Alone 2:30
Freaked Out American Loser 2:47
from Freaked Out American Loser 2017
A nervy, garage-punk-blasted amalgam of Beastie Boys, Beck, and Pissed Jeans -- with a little bit of Wu-Tang Clan tossed in for good measure, the Dangerbird-issued Freaked Out American Loser is the sophomore studio long-player from the idiosyncratic, Milwaukee-bred, Brooklyn-based artist, producer, vlogger, and energy drink-slinging entrepreneur...

Hard-hitting Aussie indie/garage rock outfit. / Perth, Australia, has a reputation as being one of the
most isolated major cities in the world, with most of a continent separating it from Australia's other big population centers and the vastness of the Indian Ocean facing it on the other side. Little wonder perhaps that the Drones initially formed on the basis of two people getting out of town in 2000.
Private Execution 7:10
Then They Came for Me 4:18
Tailwind 5:32
The mercurial Aussie rockers open their seventh studio long player with a thick blast of heavily treated guitar terror that suggests Muse by way of King Crimson, setting the stage for what is their weirdest and most visceral outing to date. Feelin Kinda Free doubles down on the darker aspects of 2013's critically acclaimed I See Seaweed, but where the former more or less adhered to the bluesy, alt-rock malevolence of album's past, the latter eschews traditional pop architecture in favor of something far more feral and unpredictable...

Evoking trip-hop as well as the xx's spare electronic pop, FKA twigs' songs are haunting and vulnerable. / Crafting ethereal electronic R&B that evokes the heyday of Tricky and Massive Attack and the spare 2010s aesthetic of the xx, London's FKA twigs is the project of Twigs, aka Tahliah Barnett, a half-Jamaican native of Gloucestershire. 
FKA twigs
Figure 8 3:03
InTime 4:32
from M3LL155X 2015
Glitchier, way more abstract and unpredictable.This new setting of tracks are bounded to each other in a way that makes this songs standout in her career this far.Twigs knows how to sound powerful in mostly whispered vocals and the effects of low and high pitching sound as if her calculated character is in constant malfunction due to her feelings and how overwhelming they are, feelings ranging from self exhibition to demanding respect and commitment in abusive relationships of almost terrifying nature, everything about this album is much more digitally incisive and angular...

John McCauley has a reputation for enjoying a good collaboration with other artists between projects with his band Deer Tick -- some time off from the band led to the album Middle Brother, featuring McCauley, Taylor Goldsmith, and Matthew Vasquez -- and Diamond Rugs is a group that came together when McCauley happened to meet one of his favorite musicians. McCauley saw a performance by Los Lobos in his adopted hometown of Nashville, and after the show he met Steve Berlin, who plays sax, keyboards, and percussion with the veteran Los Angeles group.
Diamond Rugs
Voodoo Doll 3:10
Motel Room 4:28
from Cosmetics 2015
...Like its predecessor, Cosmetics has the sort of boozy, off-the-cuff swagger that quality musicians can give to this kind of part-time project. But, with a little history now between them, the chemistry here is more apparent and the sound a bit beefier...

Genre-shifting Sydney-based singer/songwriter known for his wry, shadowy style and deep baritone delivery. / Jack Ladder is the professional alias of Australian singer/songwriter Tim Rogers.
Jack Ladder & The Dreamlanders
Come on Back This Way feat: Sharon Van Etten 5:52
Model Worlds 4:34
Let Me Love You 4:39
from Playmates 2015
On his fourth album and second outing with backing band the Dreamlanders, Australian singer/songwriter Jack Ladder transforms himself once again, this time from shadowy goth crooner to lush synth pop romantic... Fortunately for Ladder, the material on Playmates might just be some of his strongest yet, and if he's framed these songs in an Avalon-era Bryan Ferry setting, it's a style that suits them and will perhaps draw some attention to how much he really does sing like Nick Cave whether he intends to or not...

Hard and heavy blues rock featuring Freddy J IV of Left Lane Cruiser and Van Campbell of Black Diamond Heavies. / Laying out a high-decibel fusion of hard rock and urban blues that's dirty, distorted, and full of swagger
King Mud / Freddy J IV
Rat Time 5:13
Back It Up 2:53
Suzy's Cookies 6:41
from Victory Motel Sessions 2016
... While King Mud aren't any more obsessed with marijuana than the average band of 21st century blues-rock howlers, the album's stripped-down approach, focusing on plenty of guitar fireworks and muscular percussion grooves, should certainly go over well with interested members of the stoner rock community. King Mud is a duo featuring guitarist and vocalist Freddy J IV from the band Left Lane Cruiser and drummer Van Campbell of the Black Diamond Heavies, and the two musicians have managed to combine the down-and-dirty virtues of their respective groups on these sessions while avoiding some of the attitudinal overkill that occasionally marred their work (though Freddy still sounds like he spent a lot of time practicing his rootsy growl in a room with a good echo). King Mud's two-man attack helps the band sound focused and tight on Victory Motel Sessions, and they have the good sense to know when to add some extra flavors to the mix (especially Parker Griggs of Radio Moscow, who plays guitar on two cuts, and Alex J. Galvan, whose Hammond organ licks give the material a suitably late-'60s/early-'70s touch)...

New York-based Puerto Rican-American singer, songwriter, and multi-instrumentalist known for her work with the bands Cordero and Pistolera. / A frequent collaborator, she has appeared and recorded with numerous acts including Calexico, Giant Sand, and Man or Astro-man?, and she even toured as the drummer for Latin psych legends Os Mutantes.
Ani Cordero
Corrupción 3:37
Me Tumba 3:19
Dominas Mis Sueños 2:35
from Querido Mundo 2017
Querido Mundo, Ani Cordero's second release as a solo artist, falls musically somewhere between the vintage Latin stylings of 2014's Recordar and the more rock-oriented output of her longtime bands Cordero and Pistolera. Like the critically lauded Recordar, which saw the New York singer/songwriter reinterpreting classic songs of the nueva canción movement, Querido Mundo is a sort of conceptual album, or at least one that revolves around a few central themes. This time around, Cordero has composed a set of her own protest and love songs, confronting political and social issues in both the Latin and global community. A child of Puerto Rican immigrants, her devotion to representing her Latin American heritage has been a defining element throughout her career, and her growth as both a songwriter and performer are well represented on this vibrant set...

Best known for his hauntingly atmospheric work with filmmaker David Lynch, composer Angelo Badalamenti was born in Brooklyn, New York, in 1938; a classically trained performer, he spent the early years of his career playing the Catskills resort area, later writing and arranging for singers including Shirley Bassey and country star Mel Tillis.
Angelo Badalamenti
Twin Peaks Theme (Angelo Badalamenti) 5:04
Laura Palmer's Theme (Love Theme from Twin Peaks) (Angelo Badalamenti) 4:49
Deer Meadow Shuffle (Angelo Badalamenti) 4:33
from Twin Peaks: Limited Event Series Soundtrack 2017
...All it is is a feeling, a strange conviction – that reality is no more linear, straightforward or logical than dreams are, that dreams themselves are just a brain valiantly trying to sort and file the input it gets from an incomprehensible universe around it, only seeming to be impressionistic and non-linear because their real-world sources are exactly the same. Dreams feel real as anything while we're in them, after all, and if our brains can trick themselves into believing this random collage of images is the real deal, who am I, a sack of meat and synapses and bones, to disagree?

Melodic neo-psychedelia from songwriter/multi-instrumentalist Rishi Dhir, formerly of the High Dials. /  Its music incorporates the influence of British Invasion bands like the Kinks and the Beatles, as well as Indian classical music, which Dhir was paying particular attention to when he formed the band in Montreal in 2008. 
Elephant Stone
Manipulator (Rishi Dhir) 3:25
Cast the First Stone (Rishi Dhir) 3:46
The Devil's Shelter (Rishi Dhir) 4:44
from Ship of Fools 2016
For their fourth LP, Elephant Stone could have stuck to a recipe that's worked well for founder and main songwriter Rishi Dhir. It's one that lays breezy melodies over a pop blueprint, adding luscious psychedelic accompaniment that welcomes experimentation and often features Dhir's sitar -- still a rare timbre in Western rock 50 years after George Harrison made it go mainstream. Instead, Ships of Fools sees the band branch out to a degree, keeping glittering guitars as a marshmallowy center but playing with other flavors...

Influential, politically-conscious U.K. post-punk band formed in the late '70s, known for its pounding drums, wryly defiant vocals, and stuttering guitars. 
Gang of Four
Where the Nightingale Sings (Andy Gill) 4:01
Isle of Dogs (Gaoler / Andy Gill) 3:47
England's in My Bones feat: Alison Mosshart (Andy Gill) 3:10
from What Happens Next 2015
More than one wag has referred to 2015's What Happens Next as the work of "Gang of One," since guitarist Andy Gill is the only member of the original Gang of Four lineup who was still on board for these sessions, following the departure of vocalist Jon King in the wake of 2010's Content. Much of What Happens Next sounds like a careful effort to balance the thick but limber "neo-Marxist funk" of the band's first era with a more streamlined and contemporary electronic attack, and the result sounds a good bit less like Gang of Four than a 21st century solo set from Andy Gill, especially given the presence of several guest vocalists (including Alison Mosshart, Herbert Grönemeyer, and Robbie Furze) and a production that's less funky and muscular than the group's best and best-known work...

Jagged, often melodic, lo-fi post-rock, the indie rockers slowly burbled from cult sensations to unlikely alt-pop stars. 
Modest Mouse
Strangers To Ourselves (Isaac Brock) 3:24
Shit In Your Cut (Isaac Brock) 4:44
Sugar Boats (Isaac Brock) 4:03
from Strangers to Ourselves 2015
...This booster shot wore off quickly and Brock receded from the spotlight, sitting out the better part of a decade before re-emerging with Strangers to Ourselves in the spring of 2015. In the interim, he shed longterm collaborator Eric Judy -- he left sometime around 2012, replaced by Russell Higbee -- added guitarist Jim Fairchild and auxiliary player Lisa Molinaro, attempted to record an album with Big Boi, toyed with bringing Krist Novoselic aboard, then finally decided to get back to where he once belonged. Brock's return to roots is naturally a roundabout of detours, a record that bounces between stylized eccentricity and streamlined strangeness, stopping occasionally to soak in a scenic, dreamy view...

Frank Ocean has been one of the more fascinating artists of the 2010s. A singer and songwriter whose output has defied rigid classification as R&B, he has nonetheless pushed that genre forward with seemingly offhanded yet imaginatively detailed narratives in which he has alternated between yearning romantic and easygoing braggart.
Frank Ocean
Nikes (Christopher Breaux / Om'Mas Keith / Carl Palmer / Harry Palmer / Jeff Palmer) 5:14
Pink + White (Christopher Breaux / Om'Mas Keith / Tyler Okonma / Pharrell Williams) 3:04
Seigfried (Christopher Breaux / George Harrison / Om'Mas Keith / John Lennon / Paul McCartney / Elliott Smith / Richard Starkey) 5:34
from Blonde 2016
...On its surface, Blonde seems tremendously insular. Whereas Channel Orange showed off an expansive eclecticism, this album contracts at nearly every turn. Its spareness suggests a person in a small apartment with only a keyboard and a guitar and thoughts for company. But it isn’t just anyone emoting from the abyss, it’s Frank Ocean. In his hands, such intimacy attracts the ear, bubbles the brain, raises the flesh. These songs are not for marching, but they still serve a purpose. They’re about everyday lives, about the feat of just existing, which is a statement in its own right. Trayvon Martin would be 21 today, and Blonde is filled with feelings and ideas—deep love, heady philosophy, despondent loss—that he may have never had a chance to experience for himself. The stories Frank tells here find solace in sorrow. They’re fucked up and lonely, but not indulgent. They offer views into unseen places and overlooked souls. They console. They bleed. And yes, they cry...

Rappers El-P and Killer Mike are the members of this side project that evolved into a group. / R.A.P. Music A one-off project that quickly evolved into a hip-hop superduo, Run the Jewels feature rappers El-P and Killer Mike. Formed after El-P produced Killer Mike's 2012 album, R.A.P. Music, the duo released Run the Jewels in 2013, an album credited to Killer Mike and El-P and released on Fool's Gold. 
Run the Jewels
Down (El-P / Killer Mike) 3:29
Legend Has It (El-P / Killer Mike) 3:25
Thieves! (Screamed the Ghost) feat: Tunde Adebimpe (Boots / El-P / Killer Mike) 4:02
from Run the Jewels 3 2017
Titanic rap duo Run the Jewels returned with their third self-titled effort on Christmas Eve 2016. Bestowing the gift of Run the Jewels 3 weeks earlier than expected, El-P and Killer Mike managed to deliver a collection even more satisfying than 2015's sophomore installment. Whereas RTJ2 was the sound of multiple slugs to the chest, RTJ3 is as streamlined and focused as a laser blast between the eyes. Furious and hungry -- with endlessly quotable lyrical zingers to spare -- RTJ3's potency isn't as immediate as RTJ2. However, once it digs its claws in, RTJ3 reveals itself as their best work to date. The interplay between Mike and El remains the main draw, their chemistry elevating them above most contemporaries as they bounce back and forth on agile verses packed with enough outrageous boasts to fill a how-to guide on making more prudish listeners blush...

Chromatics - Shadow (Johnny Jewel) 3:44
Trouble - Snake Eyes (Alex Zhang Hungtai / Dean Hurley / Riley Lynch) 3:52
Rebekah del Rio - No Stars 7:20
The Veils - Axolotl [Roadhouse Mix] 3:03
from Twin Peaks: Music From The Limited Event Series 2017
Sound plays an undeniably crucial role in David Lynch’s Twin Peaks: The Return. It’s kind of his thing. Going back as far as 1977, which saw the release of Lynch’s first feature, Eraserhead, you can see the careful way he used what would become his signature creeping atmospheric hum, sizzle, and hiss to build a mood that would be terrifying regardless of what’s going on in the shot. For Lynch’s earlier works, including the original two seasons of Twin Peaks (1990 – 1991), he focused primarily on instrumental numbers by long-time collaborator Angelo Badalamenti, with the occasional lyrical song thrown in by artists like Julee Cruise, Lynch himself, or a licensed favorite from the ’50s and ’60s.