TERRY RILEY / Music For the Gift (Cortical Foundation)
More archival 1960's sounds from the guy who Pete Townshend was raving
about on his VH1 concert (I think he said something about how hearing
Terry made him "wet his nappy".) By far the most gone of the Cortical
Riley releases, with tape manipulations, cycles, loops in a most
Plutonian mode with collaborations with Chet Baker (!) as good as
you'd imagine, really tripped-on-mescaline recordings and a collab for
radio with LaMonte Young.
HEFNER / Boxing Hefner (Too Pure)
Smart and literate britpop that definitely should appeal to the Belle &
Sebastian contingent, albeit a bit more sharp on the edge and willing to
explore the average problems of the sweaty teen. These are singles and
odds and ends compiled, and a must hear if you are into the
guitar-izations of the likes of Pavement, Wedding Present & VU.
HORACE TAPSCOTT / The Dark Tree 1 & 2 (Hat)
Late pianist Tapscott on a reissued 1991 recording over 2 CDs with John
Carter, Cecil McBee and Andrew Cyrille, completely under-appreciated,
ultra-spiritual music descended directly from Monk and Ellington with
the outer reaching of Sun Ra and the AACM clan.
THE THIRD WAVE / Here and Now (Crippled Dick Hot Wax)
1969-70 recordings of amazing Filipino-American sister team ages
ranging from 13 to 19 under the wing of George Duke, initially out on
the influential jazz/groove MPS label. Amazing renditions of "Eleanor
Rigby" and "Cantaloupe Island" herein.
CASIOTONE FOR THE PAINFULLY ALONE / Answering Machine Music (Cassingle)
The artist title here aptly sums thing up, ultra-personal though at no
times over-melodramatic; home 4-track stylings along the lines of Dump,
Young Marble Giants and Mountain Goats (with a dash of that John D.
DANIEL JOHNSTON / Rejected Unknown (Which)
On similar yet different lines, Daniel's ultra-personal songs
rang out with much bona-fide pain and suffering through the years
bringing him legions of devoted fans and just plain rubberneckers.
Going eventually from home cassette phenomenon to major-label
curiosity, this long-awaited release is the perfect cohesion of all
Daniel's fans had hoped for; great songs with a simple, inventive yet
loose bunch of musicians who complement him perfectly. He even takes a
mock stab at arena-rock that thankfully is aware of its parameters.
MR. OIZO / Analog Worms Attack (Mute)
Gristly and bubbling electronic excellence that sounds like a more
friendly version what you would guess could be a mixture of early
Cabaret Voltaire, Add N to X, and Mantronik. Haven't seen the
supposedly hilarious video, but this is some fun abstract electronic
PLEASEEASAUR / As Seen on TV (Alpha-Quadrant Empire of Universe)
In the realm of home techno-technicians, here are a bunch that seem to
be lost in space, seeming to be sharing some kind of post-hardcore
pipe with Men's Recovery Project and MTV's Tom Green (or one would
guess by songs that profess adoration for Ricky Schroeder's new
beard). They are about one step away from become doofus fratrock ala
the Dead Milkmen with songs like "Paul McCartney's Penis", but they're
way too confused to even get there.
VARIOUS / Anticon: Music For the Advancement of Hip Hop (Massmen)
The west coast answer to the Rawkus label is chock full greatness and
experimental hijinks. Sole, Dose, Lug, Buck 65 and others all punctuated
by interludes from DJ Signify & Mayonnaise. Some great shapes & curves
being thrown here.
THE MONKEYWRENCH / Electric Children (Estrus)
A second album from this northwest all-star group featuring Mark Arm
and Steve Turner of Mudhoney, and Big Boys legend Tim Kerr among
others; solidly rocking garage messiness not too far removed from the
'honey, with more blues action than Blue Cheer. In fact the
Groundhogs' "Cherry Red" gets the treatment herein.
RAYMOND SCOTT / Manhattan Research Inc. (Basta)
2 CD collection with phenomenal book edited by our own Irwin Chusid, a
monumental retrospective at the primitive electonic sounds of the late
composer/inventor. The only other real prominent Scott releases over the
last years documented his cartoon music scores and a series of
records that were created to lull children to sleep (the latter hints
at the weirder side of his music), but neither can prepare the
listener for this. With his inventions like the electronium, clavivox,
and other sound generators, Scott implemented the heavy shit that was
being studied in academic realm over in the French InaGRM studios and
plopped it on top of utility company commercials and other montages,
some aided by Jim Henson. Further out than any Nurse With Wound,
Yahowa, or Jordy record.