psychedelic and avant-garde music from the 1960s to the present
psychedelic and avant-garde music from the 1960s to the present
psychedelic and avant-garde music from the 1960s to the present
psychedelic and avant-garde music from the 1960s to the present
psychedelic and avant-garde music from the 1960s to the present
psychedelic and avant-garde music from the 1960s to the present
psychedelic and avant-garde music from the 1960s to the present
psychedelic and avant-garde music from the 1960s to the present
psychedelic and avant-garde music from the 1960s to the present
psychedelic and avant-garde music from the 1960s to the present
psychedelic and avant-garde music from the 1960s to the present

:Episode Eighty-Three: 11.17.2017

Bitchin Bajas
Bitchin Bajas: Catch them when they bring their synths and their... foliage, I guess, to Portland early next year.

In this week's first set, I play the title track from The Myrrors most recent album, Hasta La Victoria (as well as a couple of bands I think are likely influences on their sound: Sweden's own Harvester and Hills) as a way to preface my review of their recent Portland show. In short, I enjoyed it, but thought it was a little on the short side (it lasted only about forty minutes, which is kind of paltry for a headlining band - especially one with a penchant for sprawling improvised freakouts).

In the middle set, I play Portland's own Wooden Indian Burial Ground's blown-out take on Dead Moon's Dead Moon Night. As you're probably aware, dear listener, Fred Cole of Dead Moon passed away recently, and since pretty much every other DJ on HoS has this week exhausted their catalog paying tribute to this local legend, I thought I'd join in with this rather "spacified", if you will version of their signature song.

Also thrown in to the mixed bag of the middle set is Bitchin Bajas, the band that has emerged from the (I assume) now-defunct (or on extended hiatus) CAVE, and a song from their new album Bajas Fresh, named for my favorite Mexican fast food chain restaurant (pretty much entirely due to their salsa bar - a throwback to the 80s, when Wendy's and numerous other fast food places had fresh bars of some form or another, until the Rajneeshi cult had to go and ruin things by poisoning a salad bar in the Dalles with anthrax).

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:Episode Eighty-Two: 11.10.2017

Help, Help, The Globolinks
What's a Globolink? It's not quite a globe, not quite a link... so to answer your question, I don't know.

The first set this week, after a new live track from Sweden's GOAT, is given over entirely to singer/songwriters, namely Angel Olsen, Tracy Bryant, Bobb Trimble (who I played because of Tracy Bryant's resemblance to him, intentional or not), John Maus, and weird old Gary Wilson. When I lived in NYC, I went to the premiere of You Think You Really Know Me: The Gary Wilson Story (a pretty decent documentary that's long out of print on DVD and not available for streaming anywhere as far as I can tell) and after the screening saw the reclusive Mr. Wilson himself, appropriately enough, standing alone in a rear corner of the theater.

In the show's middle set we hear from Gregg Kowalsky, of Date Palms, with a track from his new solo album L'Orange L'Orange, which of late has become my go-to reading music, a role that over the years has been held by, among others, Miles Davis's Sketches of Spain (in high school), Boards of Canada's Music Has The Right To Children (in college) and William Basinski's Disintegration Loops (in grad school).

Leading off the final set, I play what I presume must be Acid Mothers Temple's sequel to their Anthem of the Space, which I played several episodes back: Anthem of the Outer Space (it's even further out than just space, see). And then I end with Suzanne Ciani's recently reissued soundtrack to the children's operetta (how many people can say they've scored an operetta, let alone one made for children?) Help, Help, The Globolinks!

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:Episode Eighty-One: 11.3.2017

Belbury Circle
Enrich your child's mind with Outward Journeys for the Apple IIe.

First up this week is Papir, a Danish band that has managed a feat that Led Zeppelin nearly achieved but fell just short of: naming their first five albums after Roman numerals (Zeppelin stopped at IV) (Also, while the Fucking Champs made it to V as well, they cheated by naming their first album III). But, if you can ignore their unwavering commitment to uninspired album and song titles (all their songs are numbered rather than named, as well), they make some pretty darn pleasant instrumental psych rock.

Later on in the show we hear a new single from Texas's Khruangbin, who seem to be augmenting their heavily Southeast Asian-influenced sound with some Turkish inspiration, a track from Silver Apples' second album Contact, recently reissued by Portland's own Jackpot Records, and a song from Muddy Waters's great rock album Electric Mud, that I've long maintained could be passed off for a lost CAN number if you removed Muddy's vocals and replaced them with Damo Suzuki's.

Finally, in the last set, we hear from the UK's The Belbury Circle, whose new album, Outward Journeys, features lovely retro electronic sounds, and what might be one of my favorite covers of any album of the past few years, as it manages to look like the packaging for a piece of educational software from the 1980s. You could easily imagine it sitting on a shelf alongside The Oregon Trail or Carmen Sandiego, just waiting to be played on a Commodore 64 or an Apple IIe or a Texas Instruments TI-99/4A (yep, even beloved-of-nerds calculator manufacurer Texas Instruments got in on the 80s home PC craze).

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:Episode Eighty: 10.27.2017

Nazoranai
Nazoranai: The music's so dark, they gotta wear shades.

This week starts off with a track from one of the greatest musical team-ups in history: Not Lennon and McCartney, not Page and Plant, not even Duran and Duran, but John Cale and Terry Riley, and their amazing 1971 album Church of Anthrax. This is one of those rare greater than the sum of their parts musical collaborations (a real peanut butter and chocolate, if you will, for those old enough to remember 70s/80s-era Reese's Peanut Butter Cup ads), as this album ranks up with the best of either of their impressive discographies. If you are a fan of either Terry Riley or John Cale (or the Velvet Underground, for that matter), it's worth seeking out.

The show's middle set features three tracks from a compilation of about a year's worth of singles put out by Sweden's Höga Nord Rekords, a label dedicated to blurring the lines between psychedelic and dance music. Years ago, in fact, back when this show aired on Bellingham, Washington's KUGS, it was slotted just before a show dedicated to 70s/80s-era underground disco, whose host and I would often discuss the similarities between dance music and psychedelic music, and how the two influenced each other.

Finally, the last set includes another musical team-up, this one between Stephen O'Malley (of Sunn O))) and Southern Lord Records), Keiji Haino (of Fushitsusha, Sitaar Tah! and assorted other projects) and Oren Ambarchi (of Oren Ambarchi). Nazoranai, as it is known, isn't quite as fruitful a collaboration as Church of Anthrax, but its moody atmospherics are perfect for a mid-fall late afternoon.

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:Episode Seventy-Nine: 10.20.2017

Fvzz Popvli
Fvzz Popvli: Latin for "the people's fuzz."

For any of my listeners who are tired of the bleepy-bloopy electronic music I often play, this show is for you, since it is wall-to-wall R.A.W.K. (OK, there's one bleepy-bloopy song toward the end, but that's it, I swear). Yep, for Rocktober, I give you enough rock to knock your socks so far around the clock that the government will have to set up an committee, ad hoc, to block the... uh... you get the idea. Anyhow, the first set features a retro-garage track by Frankie & The Witch Fingers, a neo-garage track by Flat Worms, and some... I don't know how to describe it exactly but it's great by Gökçen Kaynatan, who in the mid-70s was responsible for most of the interstitial music on Turkish state-run television.

The middle set is for fans of dooooooom metal (the Black Sabbath-y sort of doom metal, not the Sunn O))) variety) with some heavy, heav-y, heavvvvy offerings from Fvzz Popvli (so heavy their "u"s are sharp and pointy like "v"s, old Latin style), Uncle Acid & The Deadbeats (from the recent reissue of their first album) and ORB (not to be confused with bleepy-bloopers The Orb). Also, there's some heavy shoegaze from New Candys and some heavy minimalism from Emptyset. Heavy, man, heavy.

The last set features some near-Krautrock-ish psych-prog from obscure sixties Bay Area group Fifty Foot Hose (whose name sounds like the punchline to a dirty joke), some Middle-Eastern influenced weirdness from Boredoms offshoot Saicobob, and a visit from show stalwarts Expo 70, with a track called Moon Raga that... pretty much delivers on its title.

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:Episode Seventy-Eight: 10.13.2017

The band known as UUUU
The band known as UUUU. As supergroups go, they're no Damn Yankees.

This week starts off with a song from the unusually monikered UUUU, a supergroup of sorts featuring a member of Coil and two members of Wire (who, though I've never played them on my show, since I just don't think they're quite space-y enough, I do like a great deal) off their excellent self-titled debut out this week. We also hear Jay Glass Dubs echo-riffic reworking of Guerilla Toss's Skull Pop, which is, as I explain during the break, about the closest thing I'll get to playing anything reggae-related on the show, as while I consider quite a lot of reggae, especially the dubbed-out variety, rather psychedelic, it remains a somewhat divisive genre among music fans.

In the middle set, we hear a track by Super Static Fever, from their one and only early-90s self-released album, Silent Dynamic Torture, recently unearthed and reissued by Numero Group (who, since there no longer are any obscure soul records to reissue have apparently moved on to reissuing obscure shoegaze records). One of the Sick Burns™ that I like to deploy against bands I don't like is "they better hope their fans never find out about [band they sound like]." And, in the case of Super Static Fever (who I do like, albeit with reservations) I have to imagine the band they hoped their fans never found out about was Swervedriver, as, to put it verrrry mildly, they sound almost exactly like them. The thing is, too, in the pre-internet era, it was highly likely that a lot of their fans hadn't heard of Swervedriver, and so they could've gotten away with shamelessly aping them, at least for a time. I'd like to think that the reason they only released one album is that someone called them out at one of their concerts, a la the way that Jesse Eisenberg's character in the Squid and the Whale gets called out for trying to pass off a Pink Floyd song as one of his own.

Finally, we end with a set of spaced-out ambience, including Necro Deathmort, who, in spite of having a ridiculously black-metal-ish name, are in reality more on the dark ambient side. The track of theirs that I play even reveals that they have some Krautrock-ish leanings, as it includes a motorik beat that suddenly appears about two-thirds of the way through.

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:Episode Seventy-Seven: 10.6.2017

Don Buchla and synths
Don Buchla and his wonderful creation. It's a synthesizer, not a keyboard.

We start the show off this week with the song Sunburst, by Loop, my favorite band of the shoegaze era (sorry, My Bloody Valentine), in honor of the fact that, per weather forecasts, this weekend will see the last burst of sun here in the Pacific Northwest before we settle in for our annual nine month rainy season (or, rather, drizzly season). We also hear, in the first set, from Kaitlyn Aurelia Smith, native of Washington state's Orcas Island, and her latest album of synthesizer stylings performed on a Buchla, the much, much less-well-known rival to Moog (I highly recommend the documentary "I Dream of Wires" for a thorough rundown on the Moog/Buchla competition of the late 60s).

The middle set is largely taken up by side one of the recently reissued Anthem of the Space, an album-length song by Acid Mothers Temple, who I still enjoy in spite of their reputation as being "entry-level" psych. They are the band that, to my mind, comes closest to carrying the torch of Kings of the Space-Rock Freakout borne previously by Hawkwind (who... are kinda, sorta, technically still in existence, but in that prolonged, depressing, "we'll keep at it until every original member is dead" senescence that seemingly every single band that started in the 60s is going through. Didn't think the Temptations or Three Dog Night existed anymore? Check the listings for your local casino).

Finally, we end with German Oak, and their one and only album Down In The Bunker, a Krautrock obscurity that I've wanted to play on the show for some time, but have refrained from due to its tendency to be misinterpreted as pro-Nazi. It's a concept album about the rise and fall of the Third Reich, which, save for the song titles (e.g. "Swastika Rising," "The Third Reich," "Shadows of War") and a few samples of Hitler speaking, you'd never know, since it's entirely instrumental. Anyhow, for its most recent reissue, the songs have all been retitled ("The Third Reich" is now "Bear Song", for instance - the band also claims, in the liner notes, that the whole story-of-the-Nazis framework was created by the label as a marketing ploy), so hopefully it can be appreciated for what it is: an extended, lo-fi proto-boogie-rock jam session, and not pro-Hitler agitprop.

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:Episode Seventy-Six: 9.29.2017

Qualia vs Tarot
Weatherall vs Wegmüller. Who wore it better?

After two very special episodes, we're back to just boring old regular episodes like this one, which starts off with Andrew Weatherall (producer for Jah Wobble, the Happy Mondays, and Primal Scream, among others) and the first track off his new album Qualia, whose cover is an homage to/ripoff of (depending on how you view imitative art) the album Tarot, by Walter Wegmüller. This is followed by some absolutely ripping hard psyche from Brooklyn's Honey, some spaced-out post-punk from Detroit's Protomartyr, and some... neo-proto-industrial, to coin a new genre descriptor (think more recent Gnod, for instance) from White Wine (a name that, as I mention on the show, I'm surprised wasn't already taken by some Italians Do It Better, retro-80s type band with a breathy female singer backed by shimmering synth tones)

In the show's middle set (if you haven't caught on by now the show always has three sets, interrupted by me blathering about what I've played but then often going off on tangents about, say, my least favorite day of the week, as I do in this episode) we hear two exemplars of the Japrocksampler list, Les Rallizes Dénudés, and Speed, Glue & Shinki, as well as an amazing bit of unbelievably fuzzed out 60s-retro psych rock from Portland's own White Manna, off their terrific new album Bleeding Eyes. We also hear a slab of psychedelic funk from Billy Preston: the theme to the blaxploitation cult classic Slaughter, starring Jim Brown - hall-of-fame running back, activist, actor, and... unfortunately, occasional beater-upper of women.

Finally, we end with The Breathing Effect, who I can only describe as psychedelic yacht rock. If you wish that, in the late 70s, Boz Scaggs had teamed up to record an album with Pink Floyd, then, well... I think this is a pretty accurate approximation of what may have resulted. And at the very, very, for real end of the show, we have 17 minutes of blissed-out motorik loveliness in the form of A Ride On The Bosphorus by Peter Broderick.

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:Episode Seventy-Five: 9.22.2017

The Space Lady
The Space Lady, for whom the Space Program pines.

Another very special episode this week (and again, not in the 80s/90s sitcom "an older man touched me in my private area" kind of special) as it's the 75th episode of the Space Program's current incarnation, and for the occasion, I've... revamped this website, which I actually created a year ago, but, because I'm a Gen X slacker type who doesn't care about your fame, or your money, or any of your bourgeois B.S., maaaaan, I let lay dormant until, well, now. You still have to click through to House of Sound to listen to my show, due to technical and legal limitations (I don't have an ASCAP license for my site, so I can't host any of the music I play) but for each episode you have my delightlfully droll commentary, and a playlist that's a bit easier to read than on HoS. Plus I've added a bunch of new links to the Resource page, and if you go to the Contact page you'll find ways to contact me virtually or otherwise.

Musically, it's the same-old-same-old (I mean, I'll probably do something special for my 100th show, but the 75th isn't thaaaat big of a deal) starting with Khan Tengri (named for the tallest mountain in Kazakhstan. Shouldn't that be Mt. Borat? "My wife!" Oh, that never got old...) and a track called Ashoka (not to be confused with Ahsoka, the Star Wars character - hey, they have a track on the album named Minas Morgul, which is a LOTR reference, so they're just as geeky as me) followed up with German space rockers Zone Six and a song unfortunately named... ick... "Love Monster." As I mention on the show, I can only hope that a "Love Monster" is in fact a creature from Germanic folklore similar to the Krampus, who, rather than punishing naughty children at Christmas, punishes cads on Valentine's Day.

Later in the show we hear several tracks from the latest edition in Numero Group's Warfaring Strangers series, Acid Nightmares, a musical document of the angry, bitter, late-70s end of the hippie era. We also hear a version of Shakin' All Over (another version of which, by The Texas Gentlemen, I played last week) by the Space Lady, the unrequited love of the Space Program (and who played a sold-out show at the Hollywood Theatre the night this show aired, attended by yours truly). Finally, I play a track from erstwhile Portlander and Yellow Swans member Gabriel Saloman, from Movement Building, Vol. 3, the latest in a series of albums he's released of compositions intended to accompany modern dance performances.

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:Episode Seventy-Four: 9.15.2017

Ninos Du Brasil
Ninos Du Brasil. Someone tell them that the "everyone in hoodies" band photo is soooo 2000s.

This week's episode is very special (and not in the 80s/90s "dedicated to a 'serious' issue like stranger danger" sort of sense) as for the first time, I am joined by a guest: my brother, who I have frequently referenced on the show, often as the coiner of the phrase "looooong psychedelic jams" to describe my taste in music. We get into the etymology of that expression (which, as it turns out, may have been originated by me) as well as a few other subjects during the first episode break.

As for the music, we have some shoegaze-influenced psych-pop from Beaches, some drum-heavy drone from Ninos Du Brasil (whose recent album, Vida Eterna, is worth seeking out if only for its amazing cover art - a nightmare-inducing painting of a fruit bat) and several "trax" from Trax Test (Excerpts From The Modular Network 1981-1987) a compilation of songs released by the Italian new wave/minimal-synth label Trax (which has no affiliation with the Chicago house music label of the same name).

Later on in the show we hear from Facteur Cheval, a French group who seem to be challenging the British monopoly on The Fall-inspired bands that feature a guy drolly ranting over avant-garde noodling, and we end with the, uh, chemically named, 5-Methoxy-N,N-Dimethyl: (5-MeO-DMT) from the recently reissued on vinyl (even though the original was released on CD, and presumably recorded on digital equipment, an issue I get into) Time Machines by Coil.

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:Episode Seventy-Three: 9.8.2017

Kara-Lis Coverdale
Kara-Lis Coverdale, in fatigues, ready to do battle with her piano.

This week's show begins with a ten-minute-long burst of psych-rock clamor from Headroom (one of nine(!) artists with that name, per Discogs - and not, sadly, Max Headroom's re-entry into popular culture, omitting the "Max" a la MC Hammer reinventing himself as "Hammer") the new side-project from guitarist Kryssi Battalene of The Mountain Movers. This could be entirely my imagination, but they, along with The Myrrors (a frequenter of Space Program playlists, of late), both seem strongly influenced by the Parson Sound/Harvester/Trad Gras och Stenar collective. Could Swedish Krautrock (Swederock?) be influencing the psychedelic bands of the 2010s the way German Krautrock (yes, I know, redundant, but there are Swedish, Swiss, Italian, and French bands - among other nationalities - that get labeled "Krautrock") influenced psychedelic bands of the 1990s?

The middle of the show gets a bit dark (which I ascribe to the smoky darkness Portland has been engulfed in this week due to the massive forest fire twenty miles to the east of town) with doom metal from Sons of Otis, some 80s 4AD Records-inspired minimal synthiness from one-woman band Stacian, and some slightly-pretentious but not-insufferably-so art-rock from L.A. one-man band Violence.

The final set is taken up largely by a twenty-two minute piece of absolutely lovely keyboard-based, avant-garde drift-and-drone from Kara-Lis Coverdale.

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:Episode Seventy-Two: 9.1.2017

Msafiri Zawose
Msafiri Zawose, "Afro-fusion" artist.

We start off the first show of the not-quite-fall that is September with a bit of drone from Teleplasmiste, followed up with some psychedelic electronica from Robert Leiner (from an album called Melomania, whose title I take to mean he's a real Carmelo Anthony fan), some African-inspired minimal techno from Kondaktor, and some "Afro-fusion" from Msafiri Zawose (the term "Afro-fusion" I put in quotes because it's how his label describes his music, and entirely new to me) who hails from Tanzania, which is, as a country, a result of Afro-fusion, being an amalgam of Tanganyika and Zanzibar (I'd have gone with Zanzitang or possibly Tanzibar as the resultant name, but that's a whole different issue).

Later on, we hear from The Doomed Bird of Providence with a long track from an concept album exploring the troubled colonial history of Australia. How this is reflected in the music I haven't the slightest idea (there are no didgeridoos, or sounds of shrimps being thrown on barbies, or Jacko, the guy from 80s Energizer battery commercials, shouting "Oi!")

The show ends with a piece of, uh... doom jazz, I suppose, from Massimo Pupillo, and a song from Klaus Schulze - off an album recently released in honor of his 70th birthday -that in the 1980s was used as a pre-loaded demonstration track for keyboards

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:Episode Seventy-One: 8.25.2017

Ethan Miller
Ethan Miller, man of many bands.

The show starts off with some good-old, blown-out, heavy psychedelic rock and/or roll from Domboshawa, The Odyssey Cult (the lastest project of Ethan Miller, of Comets on Fire, Howlin Rain, Heron Oblivion, and Feral Ohms), The Diaphanoids, Secret Saucer (who are technically more prog than psych, but whatever), and Joseph Shabason.

In the middle of the show, we get a new, looooong, motorik-ish jam from Chris Forsyth & The Solar Motel Band and a track from one of my favorite albums of last year, Rafi Bookstaber's "Late Summer", to commemorate the fact that it's... a specific time of year.

Finally, we end with some spaced-out free jazz from Zeitkratzer, the latest blast of noise from Jan St. Werner (of Mouse on Mars and other assorted projects) and a track from the original soundtrack to the new film "Good Time" (which is not, to my great disappointment, a prequel to the TV show "Good Times") by Oneohtrix Point Never.

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:Episode Seventy: 8.18.2017

Michael Garrison
Michael Garrison, the Klaus Schulze of Bend, OR.

This episode, at least the first third or so, is themed to commemorate a certain upcoming astronomical event - try and see if you can guess what it is. First we have the late Michael Garrison, long-time denizen of Bend, Oregon, with a track from his 1982 album Eclipse, then we hear from, in order, Moon Duo, Sun Araw, Radar Men From The Moon, Sun City Girls, Moon Phantoms, and Sunn O))). Figure it out? Write down the answer on a 3"x5" notecard and mail it to:
The Space Program, 123 Space Avenue, Space, SP 99999.

Later we hear from Pikacyu*Makoto, which thankfully has nothing to do with Pokemon, but is a project of Pika from Afrirampo and Kawabata Makoto from Acid Mothers Temple. We also hear a new track from Housewives, a This Heat-inspired kraut-noise ensemble, and an excerpt from the ever-prolific Sula Bassana's soundtrack to a movie titled, curiously, "The Ape Regards His Tail" (a notable characteristic of apes is that they have no tails).

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:Episode Sixty-Nine: 8.11.2017

Taj Mahal Travellers
Taj Mahal Travellers. Not traveling. Not at the Taj Mahal.

The episode opens with a track from the latest release by Carlton Melton, who of late have been a little less (face) Melton, and a little more (George) Carlton (George Karl, of course, being an NBA coach known for his laid-back approach. Also, when he coached the Sonics back in the 90s, his daughter went to my high school and I used to sometimes see him in the morning, dropping her off - NBA Coaches: just like us).

Later in the show I play Franco Battiato, in honor of the fact that several of his early albums are receiving long-overdue reissues this fall from Superior Viaduct, and John Cale, my favorite member of the Velvet Underground, in honor of the fact that Portland resident Todd Haynes has announced he is making a documentary about the VU, which, given that only two of the four founding members are still alive (and Mo Tucker is a right-wing headcase) and there's almost no archival footage of them, might be a bit of a challenge.

Finally, we end with Taj Mahal Travellers, and a track from their gorgeous album August 1974, recorded 43 years ago this month. From Julian Cope's Japrocksampler review: "Underplaying the deep theta meditations of the first record, here the Taj Mahal Travellers fuss with their primitive electronic gadgetry and Ur-babble like endangered species seeking collective closure, this album's refusal to dwell in deep ponds of reverb ensuring that the first clawing steps towards the individual are forever approaching, and all achieved with such a remarkable sense of orchestration that a strangely syncopated universal funk develops between the six." Couldn't have put it better myself.

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:Episode Sixty-Eight: 8.4.2017

Sergius Golowin
An appropriately blissed out Sergius Golowin, from the rear cover of Lord Krishna Von Goloka

In the first set of this week's show, we hear from Spectre Folk, the long-running psych-folk-drone ensemble helmed by Pete Nolan (also of Magick Markers (a band that, in an alternate universe with better musical taste would have occupied the role of artsy, garage rock trio with a dynamic frontwoman that successfully crosses into the mainstream filled by the Yeah Yeah Yeahs in this one) and GHQ) that in its current incarnation includes Steve Shelley of Sonic Youth and Mark Ibold of Pavement.

In the middle set, I delve deep into Julian Cope's seminal Krautrocksampler list, past CAN and Neu and Amon Duul II, to play Lord Krishna Von Goloka, an album of spoken word from dissident Czech writer Sergius Golowin backed with instrumentation from an assortment of Krautrock notables, led by Klaus Schulze and including the duo of Witthüser & Westrupp, whose album Trips & Träume (also on the Krautrocksampler list) I subsequently play a track from.

The final set includes a track from the excellent new compilation "Space, Energy & Light: Experimental Electronic And Acoustic Soundscapes 1961-1988" out on Soul Jazz that focuses on albums from the likes of Michael Garrison (Bend, Oregon's own!) and Stephen Halperin I used to snap up for a dollar a piece from the "New Age" bins in vintage record stores in the 90s/early 2000s. We then wrap up with an excellent piece of Schulze-esque neo-Kosmische from Cosmic Ground, the solo project of Dirk Jan Müller of the band Electric Orange.

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:Episode Sixty-Seven: 7.28.2017

Cosmic Jokers
The Cosmic Jokers. Not really all that wacky.

This week's show starts with Squadra Omega, an Italian psychedelic free-improv group whose new album, Materia Oscura (Dark Matter) seems almost tailor-made for the Space Program. Spaced-out, Krauty clatter, with a space-themed title (and track names)? How could I not play it?

We also hear in the first set from Cosmic Jokers, who feature rather prominently on the oft-referenced-on-the-show Krautrocksampler list, but who I didn't really ever get into until somewhat recently, largely because I loathe the name Cosmic Jokers, which I think is largely a result of having come of age in the 90s, when joker hats were all the rage among anyone who fancied themselves "wacky," "zany,"... "kind of different." They were kind of the ear gauges of the 90s, but less permanent.

The show ends with a track from a new album from a pair of Krautrock legends, Harald Grosskopf and Eberhard Kranemann. And while this album is a perfectly serviceable effort, I would be remiss to mention Grosskopf without recommending his 1980 album Synthesist, which was reissued a few years back and played on this show numerous times.

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:Episode Sixty-Six: 7.21.2017

Heroin in Tahiti
Heroin In Tahiti. Darkly tropical! Tropically dark!

The show starts with some Hawkwind-esque blown-out spacerock jams from Cosmic Fall and Earthling Society, but also the dark, minimal, tropically-tinged (yeah, I know, weird) drones of the odd-yet-aptly-named Heroin in Tahiti. I have never done heroin, nor been to Tahiti, and yet, somehow, this album I think captures what it might be like to combine the two. Mostly, I congratulate them on coming up with a name that isn't merely a creative non-sequitur, a seeming rarity in recent years.

Later on in the show, I play not just one... (slight murmur)... not just two (slightly louder murmur)... but three, yes three (murmur transforms into cascade of angry shouts) from the excellent new compilation Outro Tempo: Electronic And Contemporary Music From Brazil 1978-1992 out on Music From Memory records, an excellent companion piece to last year's Soul Jazz-released compliation of electronic music from Venezuela from the same era.

The show finshes with a loooong track from Curanderos, the latest side project from Bardo Pond (of which there are a seemingly infinite number, and all of which are essentially indistinguishable from Bardo Pond itself) and Xordox, the alter-ego of J.G. Thirwell, of Foetus, but, more importantly in my mind, composer of music for the Venture Bros.

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