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


For nonstop listening of players' tracks you must login to DEEZER music site! / A lejátszók számainak zavartalan hallgatásához be kell lépned a DEEZER zeneoldalra.

2017. augusztus 20., vasárnap

KILLING FLOOR FAVTRAX:MiX ~ 50 FAVOURiTE tracks 1968-1974 3h 41m


KILLING FLOOR FAVTRAX:MiX ~ 50 FAVOURiTE tracks 1968-1974  3h 41m >>The Electric Flag, Spirit, Julie Driscoll and Brian Auger and the Trinity, Taste, Syd Barrett, David Bowie, Led Zeppelin, MC5, John Mayall, The Doors, Gentle Giant, Natural Food, JJ Cale, David Bowie<<

M U S I C


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

LISTEN THE PLAYLIST ON DEEZER.COM
http://www.deezer.com/playlist/1681171971



1968-1974


Briefly burning blues-rock trio wowed critics while dancing about the 1960s. / When guitarist Mike Bloomfield left the Paul Butterfield Blues Band in 1967, he wanted to form a band that combined blues, rock, soul, psychedelia, and jazz into something new. The ambitious concept didn't come off, despite some interesting moments; maybe it was too ambitious to hold all that weight. Bloomfield knew for sure that he wanted a horn section in the band, which he began forming with a couple of friends, keyboardist Barry Goldberg and singer Nick Gravenites.
The Electric Flag
Killing Floor  (Chester Burnett / Howlin' Wolf) 4:10
Groovin' Is Easy ((Nick Gravenites) 3:03
Over-Lovin' You (Michael Bloomfield / Barry Goldberg) 2:10
She Should Have Just (5:01)
from A Long Time Comin' 1968
Writer Jeff Tamarkin says "ex Butterfield Band guitarist Mike Bloomfield, drummer Buddy Miles, and others put this soul-rock band together in 1967. This debut is a testament to their ability to catch fire and keep on burnin'." That The Electric Flag do so well -- they appeared at the Monterey International Pop Festival with the Blues Project, Paul Butterfield, and Janis Joplin, and all these groups had some musical connection to each other beyond that pivotal festival...


Ambitious and acclaimed West Coast psychedelic band that fused hard rock to jazz, blues, country, and folk. / Spirit was a highly regarded rock band that achieved modest commercial success, charting 11 albums in the U.S. between 1968 and 1977. Founded in Los Angeles in 1967 by musicians who had a mixture of rock, pop, folk, blues, classical, and jazz backgrounds, and who ranged in age from 16 to 44, the group had an eclectic musical style in keeping with the early days of progressive rock; they were as likely to play a folk ballad featuring fingerpicked acoustic guitar, a jazz instrumental full of imaginative improvisation, or a driving rhythm tune dominated by acid rock electric guitar playing.
Spirit
The Moving Van (Randy California) 1:56
Now or Anywhere (Mark Andes / Randy California / Ed Cassidy / Jay Ferguson / John Locke) 4:39
Model Shop II (Clear) (Randy California) 4:08
The Rehearsal Theme (Randy California) 1:11
from Model Shop Rec. 1968 (2005)
...Model Shop gathers together in one place Spirit material previously spread across several albums, but it is only a minor addition to their catalog and should mark the end of the exploitation of this portion of their music.


Sixties pop diva-turned-avant jazz singer Julie Driscoll was born June 8, 1947 in London. As a teen she oversaw the Yardbirds' fan club, and it was the group's manager and producer Giorgio Gomelsky who encouraged her to begin a performing career of her own. In 1963 she issued her debut pop single "Take Me by the Hand," two years later joining the short-lived R&B combo Steampacket alongside Rod Stewart, Long John Baldry and organist Brian Auger...
Julie Driscoll, Brian Auger and the Trinity
A highly respected jazz rock organist since the 60s. / Brian Auger was raised in London, where he took up the keyboards as a child and began to hear jazz by way of the American Armed Forces Network and an older brother's record collection. By his teens, he was playing piano in clubs, and by 1962 he had formed the Brian Auger Trio with bass player Rick Laird and drummer Phil Knorra...
Tropic of Capricorn (Brian Auger) 5:29
Czechoslovakia (Julie Driscoll) 6:19
Take Me to the Water (Nina Simone) 4:16
Light My Fire (The Doors cover) 4:20
from Streetnoise 1969
The final collaboration between singer Julie Driscoll (by that time dubbed as "The Face" by the British music weeklies) and Brian Auger's Trinity was 1969's Streetnoise -- it was an association that had begun in 1966 with Steampacket, a band that also featured Rod Stewart and Long John Baldry. As a parting of the ways, however, it was Trinity's finest moment. A double album featuring 16 tracks, more than half with vocals by Driscoll, the rest absolutely burning instrumentals by Trinity. (Auger on keyboards and vocals, Driscoll on acoustic guitar, Clive Thacker on drums, and Dave Ambrose on bass and guitars.)


Before becoming a solo star, Rory Gallagher fronted the blues-rock trio Taste, which experienced reasonable success in the U.K. in the late '60s and early '70s. Taste was molded very much on the model of Cream, adding some folk, pop, and jazz elements to a blues-rock base, and featuring a virtuosic guitarist.
Taste
Blister on the Moon (Rory Gallagher) 3:27
Sugar Mama (Rory Gallagher / Traditional) 7:15
Born on the Wrong Side of Time (Rory Gallagher) 4:01
Same Old Story (Rory Gallagher) 3:33
from Taste 1969
The fact that they, like so many late-'60s contemporaries, were molded in the image of Cream has often been cited to diminish the stature of Irish power trio Taste. But, all things being equal, it's impossible to dismiss their fine eponymous debut based solely on obvious source of inspiration, nor, by any means, the singular talents of the band's creative and performing focal point, vocalist and guitarist Rory Gallagher -- barely 20 years of age upon its release in 1969...

The greatest cult figure in rock history, he created a whimsical, haunting brand of psychedelia both on his own and as the early leader of Pink Floyd. / Like a supernova, Roger "Syd" Barrett burned briefly and brightly, leaving an indelible mark upon psychedelic and progressive rock as the founder and original singer, songwriter, and lead guitarist of Pink Floyd. Barrett was responsible for most of their brilliant first album, 1967's The Piper at the Gates of Dawn, but left and/or was fired from the band in early 1968 after his erratic behavior had made him too difficult to deal with (he appears on a couple tracks on their second album, A Saucerful of Secrets). 
Syd Barrett
Baby Lemonade  (Syd Barrett) 4:11
Love Song (Syd Barrett) 3:05
Dominoes (Syd Barrett) 4:09
Rats  (Syd Barrett) 3:02
from Barrett 1970
On his second solo album, Barrett was joined by Humble Pie drummer Jerry Shirley and Pink Floyd members Rick Wright (organ) and Dave Gilmour (guitar). Gilmour and Wright acted as producers as well. Instrumentally, the result is a bit fuller and smoother than the first album, although it's since been revealed that Gilmour and Wright embellished these songs as best they could without much involvement from Barrett, who was often unable or unwilling to perfect his performance...

The mercurial music icon widely considered the original pop chameleon and figurehead for countless musical movements. 
David Bowie
The Width of a Circle (David Bowie) 8:12
She Shook Me Cold (David Bowie) 4:17
The Man Who Sold the World (David Bowie) 4:01
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.
MC5
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 WAS A BAND FORMED BY MAIT EDEY IN THE EARLY 70'S.  THEY RELEASED THEIR ONLY ALBUM ON MAIT'S OWN RECORD LABEL CALLED "SEEDS" (WICH ALSO RELEASED MUSIC BY JEANNE LEE, BRIGWA, DAVE FRISHBERG AND DICK WELLSTOOD).  NATURAL FOOD WAS AN ASSORTMENT OF TALENTED BOSTON BASED MUSICIANS WHO ENCOMPASSED A WIDE RANGE OF STYLES THAT INCLUDED JAZZ, FUNK AND SOUL.
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...



2017. augusztus 18., péntek

NO TOMORROW # 44 alter tracks in PRSNT_PRFCT_MiX: 2h 53m (from last few years)


NO TOMORROW # 44 alter tracks in PRSNT_PRFCT_MiX: 2h 53m (from last few years) Suede, Brandon Can't Dance, The Regrettes, Tunabunny, Xiu Xiu, Kamra, Trevor Jackson, Margaret Glaspy, Jessica Hernandez & the Deltas, Juiceboxxx, The Drones, FKA Twigs, Diamond Rugs, Jack Ladder & The Dreamlanders, King Mud / Freddy J IV, Ani Cordero

M U S I C



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

LISTEN THE PLAYLIST ON DEEZER.COM
http://www.deezer.com/playlist/1681171971



One of the most exciting English guitar bands of all time, mixing the decadent elegance of glam with the tortured angst of British post-punk. 
Suede
No Tomorrow (Brett Anderson / Richard Oakes) 3:51
When You Are Young (Brett Anderson / Neil Codling) 4:18
from Night Thoughts 2016
Night Thoughts is a quintessentially Suede title: specific yet vague, a notion that seems either romantic or sad depending on perspective. Twenty years, a decade of which was spent in a split, certainly has shifted Suede's perspective, particularly that of leader Brett Anderson...

Homegrown hero of Philly's tight-knit D.I.Y. scene who released numerous digital-only albums of home-recorded lo-fi pop before issuing his first "proper" album in 2016. 
Brandon Can't Dance
Headspace (Brandon Ayres) 3:13
A Greyhound Named Chelsea (Brandon Ayres) 2:29
Rock Is Dead (Brandon Ayres) 2:56
from Graveyard of Good Times 2017
Graveyard of Good Times is the Lucky Number label debut of Brandon Can't Dance, the performance alias of Philadelphia's Brandon Ayres. A lo-fi musician championed by music scene-mate Alex G with a decade's worth of digital self-releases already to his credit, he wrote and recorded the album entirely on his own. The 16 tracks clock in at under four minutes apiece and dart through noise pop, dance pop, guitar rock, animated synth pop, and gloomier post-punk, often lingering in spaces in between...

A Los Angeles-based teenage garage punk quartet with a classicist pop bent and boundless energy. 
The Regrettes
I Don't Like You 2:46
Hey Now 3:29
You Won't Do 5:26
from Feel Your Feelings Fool! 2017
The Regrettes cut Feel Your Feelings Fool!, their 2017 debut, just a few months after the band's formation, bashing it out in a few quick sessions. Maybe that's why Feel Your Feelings Fool! seems so urgent: it gallops forward at a breakneck pace, the music recorded not long after it was written. Energy alone can make for a good album but, fortunately for the Regrettes, they're led by Lydia Night, who has a way with a hook and a knack for song construction...


The indie rock quartet Tunabunny formed in Athens, Georgia in early 2008. The founding members had all been friends previously, but they only began playing music together when two of them (Scott Creney and Brigette Herron) moved into a house just outside of town and were gifted a bunch of instruments by Brigette's musician father. Soon Mary Jane Hassell and Chloe Tewksbury started showing up, and the four decided to form a band, with Herron and Hassell sharing vocals and the group making a ramshackle and energetic riot grrrl-influenced racket behind them.
Tunabunny
Noise Problems 2:33
Seek Consequence 2:44
The Way the World Works 2:16
from PCP Presents Alice in Wonderland Jr 2017
... The record can be a little exhausting to listen to in one sitting, but listening to a side or two at a time will help let the songs and the music breathe and really sink in deeply. PCP Presents Alice in Wonderland Jr is the best kind of experimental pop, the kind where everything fits into place in exciting ways. Tunabunny make a case with this album that not only are they back and better than ever, but that they are one of the most interesting indie rock bands around in 2017.

The confrontational, often lovely experimental noise pop project of Jamie Stewart and an ever-changing cast of collaborators. 
Xiu Xiu
Laura Palmer's Theme 5:03
Audrey's Dance 4:26
Dance of the Dream Man 5:10
from Xiu Xiu Plays the Music of Twin Peaks 2016
If any act is suited to reinterpret the sounds of David Lynch's most enduring cultural artifact, it's Xiu Xiu. Many artists inspired by the director's surreal imagery and music are satisfied with creating a hazy atmosphere that only reflects the prettiest parts of his work, but Jamie Stewart and company are unafraid to be as terrifying, ugly, and just plain weird as Lynch can be...


Kamra
Deja Vu 6:39
Adverse Reaction 4:48
from Artificial Emotions 2015








Sleeve designer, label operator (Bite It!, Output), and producer (Underdog, Playgroup) whose connections to underground dance, rap, and electronic music date back to 1988. 
Trevor Jackson
feat: Missing Brazilians - Ace of Wands (Adrian Sherwood / Kishi Yamamoto) 3:39
feat. Alan Pellay - Parasitic Machine (Alan Pellay) 3:46
feat: Bim Sherman - Melody Dub (Adrian Sherwood / Peter Stroud) 3:47
from Trevor Jackson Presents: Science Fiction Dancehall Classics 2015
Following his phenomenal Metal Dance collections of industrial and post-punk tracks, DJ/producer/graphic designer Trevor Jackson was asked to compile an extensive retrospective of British producer Adrian Sherwood's influential On-U Sound label. The result, Science Fiction Dancehall Classics, is another spectacular audio document of an enormously creative period for underground music...

Lyrical, introspective songwriting with a raw rock-driven edge from this Brooklyn-based singer/guitarist. 
Margaret Glaspy
Emotions and Math 3:17
You and I (Margaret Glaspy) 2:30
Love Like This 2:44
from Emotions And Math 2016
After kicking around the East Coast for several years and issuing a pair of warmly received EPs, California native Margaret Glaspy landed a deal from Universal-affiliated ATO Records to release her debut LP, Emotions and Math. With an introspective, lyrical style that feels rooted in the traditions of the early-'70s singer/songwriter era but with an edgy, decidedly modern delivery, she presents an interesting hybrid...


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." 
Juiceboxxx
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...