I was late finding out Alice Glass left Crystal Castles. I had mixed feelings about it. Crystal Castles II is, in my opinion, one of the best records of the first decade of this century. The follow-up still has not opened to me and I am unsure if it is me or if it's just not really that good (even though I always assume it's me in situations like this where an artist has previously proven themselves, after three years I'm leaning toward the latter). Ethan Kath, the other half of CC released a new track as well and it was that track that I heard first. It kinda just sounds like he found a new girl - Edith - to sing like Alice. I might be wrong here, but that was my first impression and I've not been back since for reappraisal. Alice Glass's Stillbirth however is new ground for her, and I'm digging it and the message she released with it (read it on PiFk here) so although I'm waiting for more from both sides, at this point I'm more interested in Ms. Glasses direction.
And just for old times sake, one of my favorite CC songs from II. Well, on that record they're all my favorite, so this is just the one that fits my mood more at the moment. This song sounds like being drugged out and wandering the hazy, recessed lighting corridors of a hotel at 2 A.M. That's not what I'm doing, but it's my mood.
As good as I can be burrowing in and finding obscure music in the worlds of Rock, electro, Metal and Avant Garde, the two areas of music I dig that I have trouble finding a foot in the door with is the more obscure, rootsy Soul and Gospel music of mid-twentieth century America. I always get a twinge of jealousy when I hear something in a movie or find it mentioned in a book, find it and then realize that other than that particular piece or artist, I'm stumped. A lot of this is just a facet of inkling and time, as I'm sure if I really burrowed into a group like the Del Fonics - who I was formerly introduced to in Quentin Tarantino's film Jackie Brown - falling into the associated chains of wikipedia pages associated with them and their producers, etcetera, I'd probably come up with some more artists to sate my thirst for dusty old Soul. That hasn't happened though; I'm overly self conscious in these areas and I tend to require gatekeepers. Irvine Welsh's novel Skag Boys turned me onto the tradition of Northern Soul - which previously had simply been the name of my favorite album by The Verve - and newer artists like Jamie Lidell, Charles Bradley and Alabama Shakes make access to the genre's evolution easier than digging, but it's just not the same thing, finding a new artist or finding an obscure, older artist. And really, I'm not even addressing Gospel here, as so much of that isn't easily accessible. In the 60s and 70s almost anyone can and did press records - you see evidence of this in thrift stores all the time - but today? Well, today we have youtube, which I am seriously beginning to believe is the collective consciousness of the human race made accessible. 'Cuz everything is on it. Case in point, Pastor T. L. Barrett and the Youth for Christ Choir. Listen to this, it's awesome! But how did I find the music of a neighborhood Chicago Pastor and his Choir? How did I pull that from the din?
I found this via a gatekeeper: the cool, hazy sample that ends the Algiers record? It's from this. I love the way that sample ends the record; it has a cosmic, time-machine flavored influence that reminds me a lot of the looped sample that ends Zen Guerilla's cosmic masterpiece Positronic Raygun.
And then once I started researching off the Algiers sample I found that, of course, this is another case of the absolutely amazing Light in the Attic Records has put out some of this man's music.
Yes, that's Isaac freakin' Hayes w/ Barrett. ISAAC HAYES!!!
I need to remember that: Light in the Attic. Always check back in with them. Get on their mailing list (why didn't I do that right after the first Black Angels E.P.? Or after the Louvin Bros. Or the Donnie and Joe Emerson record?
(Pause while I actually go do that...)
Then it gets even weirder. Go to the short bio for Pastor Barrett on LITA's site, right here. Being from the South Side of Chicago I remember when these pyramid schemes were big news. Crazy how something like my favorite album of the year so far - that immaculate Algiers eponymous - can bring something from so long ago back around again.
This dropped sometime within the last week and since then I've habitually forgotten to post it here. Exceptional as usual. The "new" Papa certainly takes his gig more seriously than the previous one did. No hedonistic Vegas outings for this guy - all dark work. And we're all the better for it.
New band with Omar Rodriguez-Lopez and Cedric Bixler Zavala, perhaps best known for The Mars Volta and At the Drive-In. I've been into this record hardcore of late - easily one of the top releases of the year for me so far. Very different vibe from the guys' other bands (they're in more than the two mentioned above even). My first listen I knew nothing about Antemasque as it was a burn from Mr. Brown and I drove home from work mesmerized by something that I now can't understand how I didn't put two and two together. That said, I wouldn't trade that first listen for anything; it was freeing to hear the work of two artists I have grown to love without realizing it was them.
Entire record is fantastic and Flea plays bass on it. Weird, right? Again, you'd never know.
Ain't that the truth. I'm not entirely sure where I go when this song comes on, but its both far, far away and more intimately close than most other songs inspire. The womb-like recreation of tactile sound has long been Boards of Canada's specialty, however 2014's Tomorrow's Harvest and this track in particular bring their strange musical nirvana ever closer to fruition. I listen to this a lot on airplanes.
